^   P^W^^>5'W  '  ^''''^^   J 


LIBRARY 

OF  THE 

University  of  California. 

Class             H-~j%i 

MONA 


MONA 

An  Opera  in  Three  Acts 


The  Poem  by 
BRIAN  HOOKER 

The  Music  by 
HORATIO  PARKER 


)»  )    •>  ■^ 


New  York 
Dodd,  Mead  and  Company 
1911 


Copyright,  igii 
By  Brian  Hooker 

All  rights  reserved 


Published    September^  lau 


C      <    •  9  C     « 


ARGUMENT 

In  the  days  of  the  Roman  rule  in  Britain, 
Quintus,  the  son  of  the  Roman  Governor  by  a 
British  captive,  has  grown  up  as  one  of  his 
mother's  people,  known  to  them  as  Gwynn;  has 
won  place  and  power  among  them  as  a  Bard, 
making  their  peace  with  Rome;  and  is  to  wed 
Mona,  the  foster-child  of  Enya  and  Arth  and 
last  of  the  blood  of  Boadicea.  But  a  great  re- 
bellion has  brewed  in  Britain  under  Caradoc,  their 
chief  Bard  and  Gloom,  the  Druid,  foster-brother 
of  Mona,  She  by  birthright  and  by  old  signs 
and  prophecies  is  foretold  their  leader;  and 
thereto  she  has  been  bred  up  hating  Rome  and 
dreaming  of  great  deeds.  This  Gwynn  with- 
stands in  vain ;  and  lest  he  lose  Mona  and  all  his 
power,  is  driven  to  swear  fellowship  in  their  con- 
spiracy. Even  so,  for  urging  peace  he  is  dis- 
owned and  cast  off  by  them  and  by  her. 

Nevertheless,  he  follows  her  as  she  journeys 
V 


223131 


ARGUMENT 


about  the  land  arousing  revolt;  holding  back  the 
Roman  garrisons  from  seizing  her,  and  secretly; 
saving  her  life  and  the  life  of  the  rebellion  many 
times.  For  this  he  is  blamed  by  The  Governor, 
his  father;  but  answers  that  through  Mona  he 
will  yet  keep  the  tribes  from  war.  The  Gov- 
ernor lays  all  upon  him,  promising  to  spare  the 
Britons  if  they  bide  harmless,  but  if  they  strike, 
to  crush  them  without  mercy.  Gwynn  there- 
fore, meeting  Mona  upon  the  eve  of  the  battle, 
so  moves  her  love  for  him  that  she  is  from  then 
utterly  his  own.  And  in  that  triumph  he  begins 
to  tell  her  of  his  plans  for  peace.  But  she,  not 
hearing  him  out,  and  barely  understanding  that 
he  is  a  Roman,  cries  for  help  and  calls  in  the 
Britons  upon  him.  Yet  even  so  she  will  not 
betray  him,  and  lies  to  save  his  life.  They  make 
him  prisoner,  and  led  by  Mona  and  the  Bards, 
rush  forth  against  the  Roman  town. 

The  fight  is  crushed.  Arth  falls,  and  Gloom- 
is  hurt  to  death  saving  Mona  against  her  will. 
Gwynn,  escaping  in  the  turmoil  of  defeat,  comes 
upon  them  and  tries  to  stay  further  harm,  telling 

VI 


ARGUMENT 


^Mona  of  his  parentage  and  beseeching  her  aid. 
But  she,  having  taken  him  for  a  traitor,  takes 
him  now  for  a  liar;  and  deeming  all  their  woe 
his  doing  and  her  fault  for  having  saved  his  life, 
she  slays  him  with  her  own  hand.  Then  pres- 
ently come  The  Governor  and  his  soldiers;  and 
Monaj  before  she  is  led  away  captive,  learns  how 
Gwynn  spoke  the  truth,  and  how  by  yielding  up 
her  high  deeds  womanly  for  love's  sake  she  might 
have  compassed  all  her  endeavor. 


Vll 


THE  PERSONS 

MoNA, —  princess  of  Britain. 

Enya, —  her  foster-mother. 

Arth, —  husband  of  Enya;  a  British  tribesman. 

Gloom, —  their  son ;  a  Druid. 

NiAL, —  a  changeling. 

Caradoc, —  the  chief  Bard  of  Britain. 

The  Roman  Governor  of  Britain. 

QuiNTus, —  his  son;  known  among  the  Britons 

as  GWYNN. 

Roman  soldiers;  Britons,  both  men  and  women. 

The  Place  is  Southwestern  Britain;  The 
Time  is  about  the  end  of  the  first  century  a.d., 
during  the  earlier  years  of  the  Roman  occupa- 
tion. The  story,  however,  is  not  historical,  but 
wholly  fictitious;  nor  has  any  attempt  been  made 
to  secure  historical  or  archaeological  precision  at 
the  expense  of  human  vividness. 


ACT  THE  FIRST 

Jrth's  Hut. 
Morning  in  Midsummer, 


ACT  I 

The  scene  represents  Arth's  hut  in  the 
forests  of  southwestern  Britain:  a 
rough,  sombre  interior,  so  arranged  as 
to  appear  smaller  than  the  actual  di- 
mensions of  the  stage.  Walls  and 
roof  are  of  unhewn  logs;  the  floor  is 
of  earth,  strewn  with  rushes  and  the 
skins  of  beasts.  Other  skins  and  vari- 
ous clumsy  implements  hang  upon  the 
walls  and  from  {he  rafters;  but  there 
are  no  warlike  weapons  to  be  seen. 
The  rear  wall  {which  is  the  front  of 
the  hut)  slants  up  stage  from  *  right 
to  left,  so  that  the  left  side  of  the  set 

*  Right  and  Left  mean  throughout  the  right  and 
left  of  a  person  on  the  stage,  facing  the  audience; 
Above  and  Beloiv  mean  away  from  and  toward  the 
footlights. 


MONA 


is  considerably  deeper  than  the  right, 
and  the  left  wall  clearly  visible  to  the 
audience.  Rather  *  below  the  centre 
of  this  left  wall  is  a  large  hearth  of 
rough  stones,  on  which  a  fire  is  dying 
down  to  flickering  flames  and  red 
embers;  the  faint  wreaths  of  smoke 
from  it  rising  through  an  opening 
in  the  roof  overhead.  Midway 
along  the  rear  wall  is  a  large  door- 
way, framed  with  axe-hewn  timbers; 
and  on  the  lintel  across  the  top  of 
this  doorway  appears  the  Sign  of  the 
Unspeakable  Name  /\\  burned 
deeply  into  the  wood,  and  large 
enough  to  be  clearly  seen,  indicating 
that  a  Druid  has  his  dwelling  here. 
Curtains  of  skins,  drawn  back  from 
the  doorway,  show  the  sunlit  sum- 
mer forest  without;  the  light  from 
which,  pouring  inward  through  the 

*See  note  on  page  i. 

2 


MONA 


doorway,  makes  a  moving  brightness 
down  the  centre  of  the  stage.  The 
right  wall  is  a  clay-and-osier  partition, 
pierced  near  its  upper  end  by  a  smaller 
doorway  covered  with  a  skin  curtain, 
which  leads  into  a  dark  inner  room. 
A  rude  oaken  bench  stands  diagonally 
above  and  to  the  right  of  the  fireplace; 
bunks  or  settles  are  built  out  from  the 
rear  wall  on  either  side  of  the  door 
and  from  the  right  wall  below  the 
doorway  there.  To  the  left  of  this 
last,  and  as  far  down  as  possible,  is  a 
clumsy  table  with  benches  above  and 
below  it;  and  to  the  left  of  this  again, 
at  the  edge  of  the  lighted  space,  a  low 
oaken  stool. 

The  light  appears  to  come  wholly 
from  the  fire  and  through  the  door^ 
way  from  the  forest  without;  so  that, 
although  the  whole  stage  is  light 
enough  to  be  clearly  seen,  and  the  cen- 
3 


MONA 


tral  portion  light  enough  to  distinguish 
facial  expression,  the  general  effect  is 
that  of  gloom  and  shadow;  deepening 
around  the  walls,  reddened  by  the 
glow  of  the  fire  to  the  left,  and  con^ 
trasting  with  the  brilliant  sunshine  of 
the  green  forest  outside. 
As  the  curtain  rises,  MoNA  is  sitting  on 
the  stool,  bent  forward  and  gazing 
across  into  the  fire,  her  white  profile, 
the  flame  of  coppery  hair  that  falls 
hack  along  her  shoulders,  and  the  gold 
rings  about  her  brow  and  right  arm 
thrown  into  relief  against  the  pale 
grey  of  her  loose  robe,  Gwynn,  in 
the  green  robes  of  an  Ovate,  or 
scholar-bard,  stands  in  the  centre  of 
the  stage,  a  little  above  her.  NiAL, 
in  ragged  deerskins  with  a  wreath  of 
flowers  around  his  head,  lies  half 
asleep  upon  a  bearskin  before  the  fire, 
his  hack  toward  them  and  his  head  up 
4 


MONA 


stage.  Above  the  table,  Enya,  in 
dull  brown,  is  busy  removing  horns, 
-platters,  etc.,  from  the  table  to  the 
inner  room  and  to  their  places  upon 
the  wall.  This  action  continues  for 
some  minutes;  but  at  the  curtain-rise 
she  is  motionless  by  the  rear  wall,  her 
hack  to  the  audience.  So  that  MoNA 
and  GwYNN,  both  by  their  positions 
in  the  light  and  by  the  coloring  of 
their  costumes,  are  made  emphatic  in 
the  centre  of  the  opening  picture. 

GwYNN 

Not  long  now,  till  the  end ! 

MoNA 

Until  the  end.  .  . 

GWYNN 

Not  long  until  the  end  of  all  my  doubt, 
Not  long  until  the  end  of  all  thy  fear  — 
5 


MONA 


Kisses  half-willing,  half-reluctant  arms, 
And  eyes  that  shirk  their  promise.     I  have 

made  peace, 
And  brought  down  rest  over  this  angry 

land 
Whose  trouble  was  thy  trouble  .  .  .  Now 

I  make 
Mine  own  all  I  have  known  so  long  for 

mine, 
All  thy  dear  heart  hath  given. 

MONA 

[{still  without  moving) 

Have  I  all 

To  give  thee,  Gwynn  ? 

[Enya  has  come  down  to  the  table; 
she  pauses  there,  watching  MoNA 
closely, 

Gwynn 

Still  the  old  fear  1 
6 


MONA 


MONA 

(with  more  animation y  turning  to  him) 

Not  fear  .  .  . 

Only  .  .  .  these  many  days   I  have  not 
heard 

Thy  voice,  nor  seen  thine  eyes  .  .  .  and 
the  old  dreams 

Press  closer,  and  thy  face  fades,  lost  among 

A  sea  of  raging  faces,  and  a  forest 

Of  white  swords;  and  thy  voice,  murmur- 
ing joy, 

Blows    down    a    wind    of   war-cries  .  .  . 
What  hath  held  thee 

So  long  and  far  away? 

GWYNN 

Only  the  need 
Of  making  all  things  ready  for  our  love. 

Enya 

{to  GwYNN,  sharply) 

Hast  thou  made  the  bride  ready  to  be  won? 

7 


MONA 


GWYNN 

It  is  this  house :  there  Is  a  shadow  here. 

MONA 

{touching  her  breastj 

There  is  a  shadow  here,  Gwynn. 

[Enya  starts,  and  moves  forward  as 
if  about  to  speak;  hut  as  Gwynn 
goes  on  without  noticing,  she  re- 
strains herself. 

Gwynn 

Now  I  build 
A  house  for  us  twain  In  the  forest  here, 
Where    sunlights   laugh   through   moving 

leaves  all  day, 
And  the  sweet  blossoms  brighten ;  where  all 

night 
Earth  breathes  joy  and  the  moon  makes 

mystery 
Of  silvern  glamour  — 
8 


MONA 


MONA 

(heavily  and  sadly) 

Thou  shalt  never  build 
That  house,  Gwynn. 

GWYNN 

What  new  change — ? 

Enya 

Trouble  her  not  — 
There  is  more  in  her  than  thy  love  can 
know. 

Gwynn 
Therefore  I  love  her. 

MONA 

Dear,  I  am  not  changed  — 
That  IS  our  trouble,  that  I  cannot  change  — 
I  cannot  be  like  other  women,  loved 
And  loving,  happy.     I  was  never  so ; 
Only,  because  of  thy  dear  looks,  I  dreamed 
Of  love  and  thee  a  little  —  being  young 
9 


MONA 


And  thrilled  with  May,  a  woman,  feeling 

hands 
Of  little  children  touch  me  in  the  daric, 
Unborn,  crying  to  me  to  mother  them.  .  . 
I  dreamed  of  them  and  thee.     Waking,  I 

know 
That  I  am  set  apart. 

l^She  rises,  and  comes  down  a  step, 
NiAL  st'irSy  and  turns ,  half  raising 
himself  to  watch  them, 

GWYNN 

What  fancy  — 

MoNA 

Dear, 

No  fancy.     Look  — 

\^he  lays  her  hand  upon  the  bosom  of 
her  gown,  as  if  to  draw  it  away 
from  her  throat.  Enya  springs 
forward  in  violent  protest. 

ID 


MONA 


Enya 
Thou  shalt  not  show  him  1     No  I 

MONA 

Look! 

\_She  draws  the  dress  from  her  breast, 
and  shows  there  the  sign  /\\ 
red  against  the  white  skin  like  a 
brand  or  a  birthmark.  Enya 
wrings  her  hands.  Gwynn 
starts  back  to  the  left  side  of  the 
lighted  space,  so  that  the  centre 
of  the  stage,  up  to  the  doorway, 
is  left  open.  NiAL  is  on  his 
feet,  curious  and  wondering. 
All  glance  instinctively  from 
MoNA  to  the  mark  above  the 
door. 

Gwynn 

The  Name  I 

II 


MONA 


MONA 

God's  great  Name. 

Enya 

'(^to  GwynnX 

Better  for  thee 
Not  to  have  known. 

GWYNN 

The  Name  that  none  may  speak  .  .  « 
Mona,  what  means  this? 

MONA 

I  was  born  therewith. 
I  cannot  read  its  meaning ;  but  I  know 
Some  great  adventure  waits  for  me,  since 

God 
Hath  set  His  seal  upon  me.     How  shall  I 
Tarry  for  love? 

NiAL 
[(with  a  child^s  curiosityy 

I  cannot  understand  .  .  ^ 
What  IS  this  great  thing  Mona  has  to  do 

12 


MONA 


That  hinders  loving?     Does  God  write  his 

name 
On  them  that  shall  not  love?     I  have  It 

not  .  .  . 
I  cannot  love,  because  I  have  no  soul. 

MONA 
I  dare  not  love  until  my  soul  is  free. 

GWYNN 

Thou  art  free!     How  should  this  great 

task  divide 
Thy  fate  and  mine  asunder?     Being  one 
We  shall  be  stronger  for  all  good.  .  . 

Dear  love, 
What  hinders  the  fulfilment  of  our  dream? 

MONA 

I  have  had  other  dreams. 

GWYNN 

Love,  thou  hast  been 
Alone  and  listless,  and  the  warm  youth  pent 
13 


MONA 


Within  thee,  frustrate,  like  new  wine  that 

works 
Close-covered,    vapors    up    these    visions. 

Come 
With  me,  take  life,  and  leave  them !     Come 

with  me 
Out  of  the  shadows,  out  of  the  aimless  days 
And  empty  nights  —  find  thou  humanity 
And  God  shall  find  thee  greatness ! 

MONA 

Listen,  Gwynn  — 
And  thou.  Mother,  in  dream-lore  deeply 

wise  — 
Three  nights  together  have  I  dreamed  this 
dream : 

[NiAL  has  already  settled  back,  un- 
comprehending, in  his  place  by 
the  fire;  Enya  seats  herself  upon 
the  bench  below  the  table,  and 
Gwynn,  a  little  later,  on  the 
right  end  of  the  bench  above  the 
14 


MONA 


fire.     Only  MoNA  is  left  stand- 
ing and  within  the  lighted  space. 
I  walked  upon  a  windy  beach  between 
Dark   forest  and  dim  sea.     Low-swollen 

clouds, 
Heavy  with  storm,  gloomed  overhead  and 

hung 
Bellying     against     the     tree-tops.     Close 

ashore 
Towered  one  huge  wave,  curving  over  me 
As  a  serpent  curves  to  strike,  crested  with 

cloud 
And  foam,  the  hollow  gulf  beneath  alive 
With  tremulous  lights  and  angry  glints  of 

green. 
High  overhead  looming:  so  that  I  seemed 
To  walk  in  a  long  cavern  roofed  with  cloud 
And  walled  with  foam  and  forest.     And  I 

bare 
Upon  my  breast  a  naked  sword,  close  held 
As  a  mother  holds  her  child.     So  when 

the  surge 

15 


MONA 


Poised  to  plunge  down  upon  me,  I  thrust 

forth 
The  sword,  shaking  it  seaward,  and  the  sea 

Bent  backward  and  forebore.     Meseemed 
one  stood 

Beside  me,  veiled  in  a  white  shroud,  whose 
face 

I  could  not  see,  that  strove  to  snatch  away 

My  sword.     Therefore  I  smote  and  slew 
him.     Then 

The  surge  plunged,  and  the  clouds  burst, 
and  the  trees 

Fell,  thunder-rent,  and  whelmed  me.     And 
I  woke 

Trembling,  and  seeming  still  to  see  the 
sword 

And  the  grim  cloud  and  the  green  surge. 
And  now 

Three  nights  together  have  I  dreamed  this 
dream. 

i6 


MONA 


GWYNN 

(on  his  feet,  but  still  in  the  shadow) 

And  the   dream  thrice  beholden  prophe- 
sies !  — 
I  wonder  ... 

[He  breaks  off,  pondering,     MoNA 
turns  to  Enya. 

MONA 

Mother  .  .   ? 

Enya 

Dreaming  of  the  sea 
Foretells  great  happenings;  dreaming  of  a 

sword, 
Struggle  .  .  .  but  then  the  forest,  and  the 

cloud, 
And  the  white  figure  with  no  face  .  .  . 

Nay,  child, 
I  cannot  tell.     I  cannot  read  this  dream. 
17 


MONA 


GWYNN 

God  mocks  us  with  a   future  half  fore- 
known. 

MONA 

{dropping  hack  into  her  seat,  and  brooding 
there,  her  face  resting  upon  her  hands) 

Nial,  dost  thou  never  dream  ? 

NiAL 

Always,  I  think  — 
Or  never.     Night  by  night,   and  day  by 

day  .  .  . 
It  must  be  all  true,  or  else  all  a  dream. 

MONA 

{still  pondering) 

I  alone  between  surge  and  forest  .  .  . 

Gwynn, 
What  if  the  sea  be  —  Rome ! 
i8 


MONA 


GWYNN 

(startled  and  uneasy) 
Rome?  — 

MoNA 

The  black  flood 
That  whelms  our  miserable  land  1 

\_Js  GwYNN  ^5  about  to  protest, 
Arth  strides  in  at  the  central 
doorway  —  a  lean,  powerful  old 
man  with  a  bristle  of  grey  hair 
and  beard;  bare-armed  and  bare- 
kneed,  clad  roughly  in  skins. 
He  advances  to  the  centre  of  the 
stage,  and  hurls  a  short  Roman 
sword,  unsheathed,  at  Mona's 
feet. 

Arth 

Here,  child, 
I  bring  thee  a  child's  plaything ! 

[The  women  have  risen  in  surprise, 
19 


MONA 


and  NiAL  also  is  upon  his  feet, 
peering  curiously  at  the  sword, 
GwYNN  remains  up  left,  in  the 
shadow, 

MONA 

Father  I 

Enya 

Arth  .  .  . 

[MONA  has  picked  up  the  sword  and 

is   examining   it.     Suddenly   she 

raises  a  drawn  face  of  dreadful 

wonder, 

MONA 
It  is  the  sword  I  dreamed  of  in  my  dream  I 

GWYNN 

The  sword  of  Rome  .  .   ! 

MONA 

Father,  whence  came  this  ? 
20 


MONA 


Arth 

(his  primness  in  sharp  contrast  with  her 

wonder) 

One 
That  was  a  Roman  soldier  gave  it  me 
Yonder  .  .  .  These  Romans  are  a  weakly 
breed  I 

Enya 
Thou  art  a  swordless  man  —  it  is  unlawful 
For  thee  to  fight,  or  to  bear  weapons  .  .  . 

Arth 

Bah! 
I  had  no  weapon  — 

[He  makes  the  action  of  strangling  an 
enemy. 

Only  these  bare  hands 
Of  an  old  man. 

Enya 

Blood !  Blood !     Ever  more  blood ! 

21 


MONA 


Arth 
{disregarding  her  terror,  and  looking  lit- 
erally at  his  hands) 
Only  a  little,  bitten  from  his  lips 
In  dying. 

Enya 

Thou  hast  roused  the  wolf  I     Oh,  now 
We  shall  endure  vengeance!     Now,  when 

our  sleep 
Was  safe,  and  our  days  free  — 

Arth 
Free  I     Hear  the  woman  I 
Ay,  free  like  dogs,  free  to  the  lash  and  the 

chain, 
Licking  the  Wolf's  feet  lest  we  die  •—  new 

stripes 
Over  old  scars,  one  shame  alike  to  sting 
Surrender  and  rebellion, —  tribute  wrung 
Out  of  dry  hunger,  swords  taken  away 

22 


MONA 


From  free  hands,  our  shrines  desolate,  our 

Bards 
Forbidden  worship,  our  kings  dead,  our 

women 
Shared   with    our   lords  —  all   men   with 

blood  in  them 
Hating  the  Wolf  anew  with  each  new  day, 
Eating  and  drinking  hatred! 

[GwYNN  has  listened  with  growin^^ 
displeasure,  sharing  neither 
Enya's  terror  nor  Arth's  rage. 
He  now  comes  down,  facing  the 
furious  old  man  with  calm  au- 
thority. 

GwYNN 

Thou  art  a  fool, 
Arth.     Blood  will  follow  this. 

Arth 
{noticing  him  for  the  first  time,  scornfully) 
Gwynn  ...  the  man  of  peace  I 
What  dost  thou  here? 
23 


MONA 


GWYNN 

What  I  have  ever  done  — 
Guarded  this  house  from  trouble.     Thou 

hast  broke 
The    peace,    wantonly    slain    a    Roman. 

Fool, 
What  hope  hath  Britain  save  In  Rome's 

goodwill  ? 

Arth 
Rome's  goodwill!     The   embrace   of  the 

soft  scourge  I 
Kisses  of  the  kindly  spur  I     A  fire's  friend- 
ship, 
A  wolf's  love  I 

[MoNA  has  been  standing  bright-eyed, 
the  sword  unconsciously  clasped 
across  her  bosom,  as  a  mother, 
holds  her  child.  As  Arth 
-finishes,  she  springs  forward  in 
a  frenzy  before  the  others,  waV" 
24 


MONA 


ing  the  sword  at  arm^s  length, 
and  shouting. 

MONA 
Britam,  old  Britain  1     Ruin  to  Rome ! 

Enya 
{catching  the  infection,  with  shrill  fury\ 
Ruin  to  Rome! 

GWYNN 

Be  still,  women  1 
[Their  hysteria  wilts  before  his  con- 
fidence.    He  turns,  facing  Arth, 
and  pointing  steadily  to  the  Sign 
above  the  doorway. 

By  that  Sign, 
I  bid  thee,  peace.     Now  .  .  .  thou  hast 

slain  a  man  — 
Go  bury  him. 

[Their  eyes  fight.     Arth  bows  his 
head. 

25 


MONA 


Arth 
I  will  go  bury  him. 

[He  goes  out,  slowly,  into  the  forest, 
MoNA  crosses  to  Gwynn,  and 
slides  her  left  arm  about  his  neck, 
the  sword  hanging  loose  in  her 
right  hand. 

MONA 

Thou  art  a  man,  Gwynn.  .  . 

NiAL 

I  cannot  understand  — 
.What  had  he  done,  the  Roman,  wherefore 

Arth 
Should  slay  him? 

MONA 

^{turning  sharply) 

Robbed  us  of  our  freedom. 
26 


MONA 


NiAL 

Nay, 
Are  we  not  free  to  breathe  sweet  breath, 

and  sing 
Under  the  sun,  and  laugh  beside  the  fire, 
And  wonder  at  the  world? 

MONA 

(to  GwYNN,  examining  the  initials ^  S.  P. 

Q.  R.  upon  the  hilt  of  the  sword) 

What  mean  these  runes 
Here  graven? 

GWYNN 

Senate  and  Roman  People. 

MONA 

{swinging  the  sword) 

See 
How  light  It  is  I     Even  I  have  strength 
enough 

27 


MONA 


To  wield  this.     How  can  such  women's 

weapons  meet 
The  long  sword  and  the  British  axe? 

GWYNN 

Not  so  — 
IHe  takes  the  weapon  from  her,  and 
illustrates  his  words  with  the  easy 
precision  of  a  trained  man:  at 
frst  quietly,  then  with  increasing 
enthusiasm,  until  at  the  last  he 
is  vividly  possessed  by  his  pa- 
triotism, 
Rome  never  strikes.  .  .  Thus  —  thrusting 

.  .  .  The  point  kills 
Quietly.  .  .  The  edge  wastes  power. 

First  the  spears, 
Hurled  all  together,  bite  and  bend  —  then 

down 
Swings  the  long  legion,  every  man  In  turn 
Guarded  and  guarding,  shield  by  shield, 
and  sword 

28 


MONA 


By  sword,  closing  the  ranks  above  the 
slain  — 

The  third  line  ready  with  new  spears  — 
not  men 

But  one  steel  wall  of  manhood  —  eagles 
borne 

Forward,  and  trumpets  clamoring  vic- 
tory— 

Men  die;  but  the  living  legion  marches  on 

Conquering.  Romans  perish  —  Rome 
abides. 

Drinking  the  virtue  of  her  dead  strong 
sons. 

Imperial,  immortal! 

Enya 

{sourly,  with  half-suspiciony 

Man  of  peace, 
Thou  knowest  our  enemies'  warfare  over- 
well  I 

29 


MONA 


GWYNN 

I    am    a    Bard.  .  .  It    is    my    work    to 
learn.  .  . 

MONA 

(eagerly) 
Hast  thou  fought  with  them? 

GwYNN 

I  have  fought  .  .  .  with  them  — 
Before  I  was  a  Bard,  I  fought  with  them. 

MONA 

To  have  stood  at  sword's  point  with  the 

very  wolf  .  .    1 
iTo  have  pierced  flesh,  and  seen  blood  flow 

...  to  have  slain 
Romans  • — ■  and  now,  to  love  Rome  I 

GVi^YNN 

Now  I  love  thee, 
And  dream  of  peace. 

[MoNA    turns    listlessly    away,    and 
30 


MONA 


seats  herself  upon  the  stool,  her 
head  in  her  hands.  Enya  is 
above  the  table,  and  NiAL  back 
in  his  place  by  the  fire,  while 
GwYNN  Stands  at  the  left  of  the 
lighted  space,  above  the  fire:  so 
that  the  picture  as  well  as  the 
mood  of  the  opening  scene  are 
reproduced. 

MONA 

I  have  had  other  dreams : 
Fire,  and  a  sound  of  battle,  and  a  storm 
Of  hungry  swords  .  .  .  our  towns  made 

strong  once  more. 
Our  shrines  made  holy  as  of  old.  .  . 

\_She  rises  nervously,  and  paces  to  and 
fro  across  the  lower  edge  of  the 
light  like  a  caged  creature,  hen 
hands  clasped  over  the  mark  on 
her.  breast, 
31 


MONA 


Great  God, 
What  have  I  done  with  all  this  life  of  mine 
To  make   life  worthier?     What  have   I 

done  — 
What  can  I  do? 

NiAL 

{innocently,  with  the  air  of  having  found 
the  answer) 
Thou  art  very  beautiful. 

MONA 

Beautiful!     Will    my    beauty    break   the 

chain  ? 
—  If  I  might  make  thereof  a  charm,  to 

snare 
The  leader  of  our  enemies  —  and  then, 
While  he  leaned  down  and  loved  me,  strike 

one  stroke 
Into    his    wolf-heart,    and    leave    Britain 

free.  .  . 
I  dream  this ;  who  shall  make  it  more  than 

dream? 

32 


MONA 


[GwYNN,  Standing  motionless  with 
the  sword  in  his  hand,  has  un- 
consciously stiffened  into  atten- 
tion, the  sword  held  vertically  at 
his  side,  MoNA  turns  upon  him 
suddenly, 
—  Give  me  the  sword. 

GwYNN 

Wherefore? 

MONA 

Give  me  the  sword! 
Thou  art  like  a  Roman  soldier,  standing 

so  — 
It  is  mine.     Give  it  me ! 

\_She  advances,  and  tries  to  take  it 
from  him.  He  resists;  then,  see- 
ing that  she  is  in  earnest,  lets  go. 
Their  position,  at  this  instant,  is 
exactly  that  of  the  previous  line: 
"  Thou  art  a  man,  Gwynn,"  on 
33 


MONA 


p,  26.  But  in  snatching  the 
\sword,  MoNA  has  drawn  its  edge 
across  Gwynn's  hare  right  arm* 
She  starts  back  to  his  right,  drop- 
ping the  sword,  and  catching  his 
right  hand:  so  that  Gwynn's 
bleeding  arm  is  outstretched  in 
the  centre  of  the  stage,  Enya 
and  NiAL,  at  the  same  instant, 
spring  forward  and  down  stage 
to  right  and  left,  horrified  at  the 
omen.  All  this  happens  at  once 
and  in  a  moment, 

Mona 

—  Gwynn  I 
[At  the  moment  of  her  cry,  Gloom 
enters  through  the  central  door- 
way, releasing  the  leather  curtain 
so  that  it  falls  behind  him,  cut- 
ting of  the  sunlight.  The  stage 
light  darkens  and  reddens  to  fire- 
34 


MONA 


light;  and  all  eyes  are  turned 
upon  Gloom  standing  motionless 
before  the  doorway  in  the  white 
robes  of  a  Druid,  his  arms 
stretched  outward  and  upward, 
and  his  long  white  staff  held  ver- 
tically in  his  right  hand.  His 
black  hair  is  crowned  with  oak- 
leaves,  and  his  black  beard  flows 
down  over  his  breast.  After  an 
instant,  he  brings  his  arms  down, 
stretching  them  outward  and 
downward,  the  staff  still  held  ver- 
tically; then  folds  them  inward 
upon  his  breast,  so  that  the  staff, 
held  between  his  hands  which  are 
clasped  at  his  throat,  forms  with 
his  forearms  the  Sign  of  the 
Unspeakable  Name,  Then  he 
comes  down  to  Gwynn's  left 
and  just  below  him;  picks  up  the 
sword,  and  looks  from  it  to 
35 


MONA 


Gwynn's  bleeding  arm,  speaking 
with  a  solemn  relish  at  once 
prophetic  and  malicious. 

GWYNN 

{as  Gloom  enters) 

It  IS  naught,  .  . 

Gloom 
By  that  same  blade  it  Is  thy  doom  to  die. 

MONA 

Gloom  .  .   ! 

GwYNN 

{facing  Gloom)' 
I  shall  not  be  slain  by  prophecies, 
Nor  by  ill-will. 

{^Ignoring  him,  Gloom  passes  the 
sword  to  MoNA,  who  takes  it 
mechanically,  and  speaks  to 
Enya. 

36 


MONA 


Gloom 
Mother,  take  Mona  hence. 
Tell  her.  .  .  Thou  knowest  all  she  needs 
to  know.  .  . 

[Js  Enya  and  MONA  go  out  by  the 
doorway  to  the  right,  Gwynn 
steps  back  below  the  table;  and 
Gloom,  crossing  up  to  the  cen- 
tral door,  draws  back  the  curtain 
and  calls  through. 
Let  the  Bard  enter,  Father. 

[Arth  appears  in  the  doorway,  usher- 
ing in  Caradoc.  He  is  very 
old,  with  a  skin  like  wrinkled 
ivory,  and  hair  and  beard  like 
spun  glass;  his  costume  is  simi- 
lar to  those  of  Gwynn  and 
Gloom,  but  deep  blue  in  color. 
All  his  movements  are  deliberate 
and  impressive;  and  he  has  an  old 
saint's  air  of  dreamy  optimism. 
37 


MONA 


The  others  hear  themselves  to* 
ward  him  with  reverence.  He 
stands  a  moment  under  the  door- 
way, going  through  the  same  rit- 
ual as  Gloom  had  done,  hut  with 
greater  dignity  and  meaning, 
Arth  and  Gloom  fall  hack  to 
right  and  left  of  the  door. 
NiAL  remains  far  to  the  left,  he- 
low  the  fireplace;  he  takes  no 
part  in  the  ensuing  scene,  nor  do 
the  others  notice  his  presence 
more  than  they  would  the  pres- 
ence of  an  animal, 

GWYNN 

'{as  Caradoc  enters) 

Caradoc  .  .   I 

Caradoc 
The  peace  of  the  Great  Name  upon  this 

house 
And  all  that  dwell  therein  I 
38 


MONA 


All 

And  with  thee,  peace. 

Caradoc 
(coming  down  to  the  centre  of  the  stage) 
Now  let  there  be  an  oath  between  us. 

GWYNN 

Nay, 
I  swear  no  blind  oaths.     What  does  Cara- 
doc 
Here?     What  is  this  that  Mona  needs  to 
know? 

[In  answer,  'Caradoc  throws  hack 
his  gown.  Gloom  and  Arth 
do  likewise,  showing  that  each  is 
girt  with  a  great  sword.  To- 
gether the  three  blades  are  drawn 
and  held  aloft,  Caradoc's  ver- 
tically, the  other  two  slanting  in 
toward  its  uplifted  point, 
39 


MONA 


Caradoc 
The  peace  is  broken:  we  have  blessed  the 
steel. 

Gloom 
(as  the  swords  are  sheathed  again) 

Thou  shalt  know  all,  being  made  one  with 
us. 

GWYNN 

(bitterly) 
This  Is  thy  doing,  Gloom.     Thou  hast  un- 
done 
Britain,  and  all  our  labor. 

Arth 

Bah  1     He  loves 
Rome  overwell,  prating  of  peace,  peace, 

peace  — 
Put  thou  no  trust  In  him.  ' 

40 


MONA 


Gloom 

( triumphantly  y 

If  a  man  swear 

An  oath,  and  bind  his  honor  with  a  bond, 
He  shall  not  break  his  word. 

GWYNN 

Have  we  not  sworn 
An  oath  to  keep  the  peace  of  the  Great 

Name? 
I  swear  no  oath  to  drown  this  land  in  war. 

Caradoc 

There  is  no  peace  that  is  not  won  by  war. 

[GwYNN    still    hesitates.     He    must 

either  swear  disloyalty  to  Rome, 

or  give  up  Mona,  his  influence 

€imong  the  Britons,  and  perhaps 

his    life.     To    the    others,    of 

course,  he  appears  merely  driven 

from   his  known  position   as  a 

peacemaker ;  and  in  this  Gloom 

41 


MONA 


takes  pleasure.     After  a  moment 
Caradoc  adds  gravely: 
Being  a  Bard,  thou  art  made  one  with  us. 

Arth 

Being  a  Briton,  thou  art  one  with  us ! 

Gloom 
Mona  herself  shall  make  thee  one  with  us. 
[GwYNN  still  wafers,   and  Arth's 
temper  gives  way. 

Arth 
Enough  I     Art  thou  a  Roman? 

GWYNN 

{howing  his  head) 

I  will  swear. 

Caradoc 
Then  let  there  be  an  oath  between  us. 

l^He  drives  his  staff  into  the  fire,  caus- 
ing it  to  blaze  up.     Then  cere- 
monially draws  forth  a  burning 
42 


MONA 


brand,  which  he  elevates  before 
the  sign  on  the  lintel,  saying: 

Now, 
By  the  three  circles  round  the  Oak,  whose 

names 
Are  Death  and  Life  and  Godhead  .  .  . 

by  the  signs 
Of  Earth  and  Air  and  Fire  .  .   ;  and  by 

the  power 
Of  the  Great  Name,  .  .  .  which  made  and 

maketh  all.  .  . 
Our  hearts  are  sealed  forever  to  this  trust ; 
Our  lips  are  sealed  until  the  work  be  done. 
[At  the  pauses,  he  presents  the  brand 
in  turn  to  Gloom,  Arth,  and 
Gwynn;  each  touches  the  fire, 
and  carries  his  hand  to  breast 
and  lips;  then  Caradoc  breaks 
the  brand  in  three,  laying  one 
fragment  upon  the  earth,  throw- 
ing another  into  the  air,  and  re- 
turning the  third  to  the  fire. 
43 


MONA 


All 
By  the  Great  Name ;  By  Earth  and  Air  and 
Fire. 

Caradoc 
The  Gorsedd  is  made  ready. 

IHe  seats  himself  upon  the  bench 
above  the  pre,  Arth  and  Gloom 
upon  those  to  right  and  left  of 
the  doorway.  Gwynn  remains 
standing,  near  the  table. 

Gwynn 

Caradoc, 
Thou  art  old,  having  seen  generations,  wise 
With  love  and  sight  and  sorrow.     Thou 

hast  seen 
Boadicea,  and  the  bloody  fall 
Of  that  great  uprising,  and  many  wars 
Since  then,  lesser  but  not  less  vain.     Say 

thou 
How  Britain  shall  fight  Rome  I 
44 


MONA 


Caradoc 

Thou  shalt  know  all  — • 
It  is  true,  Gwynn,  that  all  our  wars  were 

vain. 
They  were  but  partial.     Rome  is  Rome. 

Till  now 
Britain  was  never  Britain.     Here  a  tribe 
And   there   a   province    fought    and    fell. 

Even  she, 
The  Old  Queen,  led  only  West  Britain. 

Now, 
Mount,  shore,  and  plain,  wild  wood  and 

wanton  town, 
Rise  every  man  together,  on  one  day. 

Gwynn 

It  is  no  matter.     Say  that  Britain  means 
Britain    for   once  —  Rome    is   the   world. 

Besides, 
What  surety  have  ye  that  all  tribes  will  rise 
Together?     This    has    all    failed    many 

times ! 

45 


MONA 


Some  will  rise,  others  wait  to  learn  how 

those 
Fare,  and  so  all  perish.     Rome  is  Rome, 

one, 
Unconquerable,  eternal! 

Arth 

Bah !     That  fear 
Crawls  in  our  young  men's  blood.     They 

have  sucked  it  in 
From  weak,  soft  breasts.     A  Roman  is  a 

man, 
Boy,  not  a  god.     Are  we  men? 

Caradoc 

We  are  more : 
We  are  the  living  will  of  the  Great  Name, 
Foredoomed,    ordained,   prophesied.     We 

have  found 
That  leader  long  foretold  who  shall  stamp 

down 
The  Wolf,  and  save  Britain  —  that  leader 
sought 

46 


MONA 


Through  many  years  and  tears,  whom  all 

shall  trust 
Even  as  a  babe  its  mother,  and  obey 
As  a  young  maid  her  love. 

GWYNN 

I  have  heard  .  .  .  but  where 
Shall  ye  bring  up  one  man  all  will  receive 
For  the  one  prophesied?     Where  learned 

he  war 
And  how  to  lead  men?     Who,  but  his  own 

folk 
That    knew    his    childhood    shall    say: 

"  What,  our  boy 
The    foretold   hero?"     And   sneer,    and 

spread  their  scorn 
Till  many  doubt?     Where  find  ye  such  a 

man? 

Caradoc 

No  man. 

47 


MONA 


GWYNN 

{logically  triumphantj 
What  god,  then? 

Gloom 

Nor  no  god.     We  found 
A  woman. 

GWYNN 

Woman.  .    ! 

Gloom 
(confirming  with  some  pleasure  Gwynn's 
horrified  anticipation) 
Mona. 

Gwynn 

By  God's  name. 
No !     Ye  shall  not  make  her  your  sacrifice ! 

{to  Arth) 
Thine  own  child  — - 


Arth 

Nay,  no  child  of  mine. 
48 


MONA 


Caradoc 

Myself 
Did  bring  her  hither  twenty  years  ago, 
To  be  reared  up  in  secret.     She  is  the  child 
Of  Arvirax  and  Gerna,  very  blood 
Of  the  Old  Queen,  who,  dying,  told  of  her. 

GWYNN 

She  IS  herself,  were  she  the  very  Queen 
Herself,  reborn!     Ye  shall  not  blast  her 

joy 
For  a  dream,  and  a  dead  woman's  proph- 
ecy, 
And  a  fool's  hasty  blood-lust,  and  a  war 
Vain,  lost  before  beginning,  worthless  if 

won  — 
Ye  shall  not  drown  her  in  your  surge  of 
blood! 

\_He  raises  his  arms  in  the  Sign,  turn- 
ing toward  the  doorway,  and 
looking  from  Gloom  to  Cara- 
doc. 

49 


MONA 


Is  this   the   peace   ye   blessed  this   house 

withal? 

IThe  others  have  risen.  Caradoc 
comes  forward,  facing  him,  his 
staff  held  before  his  breast, 

Caradoc 
There  is  no  peace  that  is  not  won  by  war. 
[^Then  as  Gwynn  is  about  to  protest 
further,  he  adds,  pointing  to  the 
doorway. 
We  are  thine  elders,  Gwynn.     Be  silent 
now. 

[He  nods  to  Arth,  glancing  toward 
the  door  on  the  right;  and  NiAL, 
obedient  to  Arth's  gesture,  goes 
out  through  it.  There  is  a  short 
pause.  Then  MoNA  enters 
alone,  tall  and  pale,  great-eyed 
with  inspiration;  dressed,  like 
Gloom,  in  the  white  Druidic 
Robes,  and  with  the  sword  still 
50 


MONA 


in  her  hand.  She  comes  for- 
ward slowly,  and  kneels  before 
Caradoc  in  the  centre  of  the 
stage.  Gwynn  is  to  the  right, 
below  the  table,  Arth  above  and 
to  the  right,  Gloom  below  and 
to  the  left. 

Caradoc 

{laying  hands  upon  her  head,  quietly) 

The  peace  of  the  Great  Name  upon  thee, 

and  the  power 
Dwell  with  thee.  *.  . 

MONA 
{rising,  tense  with  exultation) 

It  Is  all  so  wonderful. 
I  to  fulfil  old  prophecies.  .  . 

{glancing  toward  Arth)' 
I  not 
Thy  daughter,  but  a  daughter  of  strange 

names 
In  an  old  tale.  .  . 

51 


MONA 


I  to  save  Britain  .  .  .  Strange 


As  birth. 


Caradoc 

Show  me  the  sign,  child. 

[^She  draws  the  robe  away  from  her 

breast.     The  stage  picture  is  the 

same,  with  different  persons,  as 

when    she    first    showed    it    to 

GWYNN. 

Twenty  years 
Past,  I  beheld  that  sign,  and  saved  the  child 
For  Britain. 

MONA 
Strange  as  love.  .  . 

Caradoc 
.With  God*s  great  Name 
Sealed  — 


MoNA 
Strange  as  death. 
52 


MONA 


Caradoc 

Hear  now  the  words  of  the  Bard  I 

(formally) 

Boadlcea,  dying,  left  her  pledge 

(For  dying  eyes  look  through  the  veils  of 

time) 
That  one  sprung  of  her  seed  should  lead 

this  land 
In  its  great  need  against  the  Roman.  Thee, 
Last   of  her   line,   by   that   sign   on   thy 

breast, 
And  by  Bard's  insight,  I  receive  and  de- 
clare 
For  the  one  prophesied.     Thee  the  Great 

Name 
Shall  guide  where  many  thousand  fighting 

men 
Moulded  under  thy  faith  to  one  strong 

arm, 
Follow,  to  save  Britain! 
53 


MONA 


MONA 

If  I  were  sure  .  .  . 

[^She  stands  r'lgidy  gazing  before  her 
into  infinity,  as  one  who  sees  a 
^vision;  her  soul  balancing  be- 
tween sainthood  and  humanity. 
Arth,  up  right y  looks  on  with 
frowning  impatience,  and  Cara- 
DOC,  further  down  and  to  the 
left,  patiently  and  with  confi- 
dence, GwYNN  and  Gloom,  to 
MoNA*s  right  and  left  and  a  lit- 
tle below  her,  watch  tensely  for 
the  critical  moment;  it  is  they 
who  are  fighting  for  her. 

Gloom 

Arc   not   thy   dreams    fulfilled   of    other 

lives, — 
Memorable  of  old  wars  ? 
54 


MONA 


MONA 

How  couldst  thou  know?  — 
Surely  my  dreams  remember! 
{half  to  herself) 

The  sea,  Rome.  .  . 

The      forest,      Britain.  .  .  The      sword, 
war.  .    I 

GWYNN 

Remember 
Also    the    veiled,    white    figure    with    no 
face  — 

God  mocks  us  with  a   future  half  fore- 
known ! 

{His  tone  softens,  and  he  comes  close 
to  her,  taking  her  passive  hand. 
She  looks  past  his  eyes. 

Thou  art  a  woman,  Mona.     To  be  great. 
First  be  a  woman. 

55 


MONA 


MONA 

{leaning  toward  him  a  little ^  hut  still  not 
meeting  his  eyes) 

I  have  had  other  dreams, 
Of  mating  and  of  motherhood  —  not  great, 
But  very  dear.  .  . 

{still  gently,  hut  hardening  herself  hy  an 

effort) 

Ah,  Gwynn,  I  cannot  be 
Only  a  woman ! 

Gloom 
{venomously,  catching  at  his  opportunity)^ 

Nor  a  pretty  toy 
For  lover's  lips  to  lap  — 

Gwynn 

{furiously,  taking  a  step  forward  as  if  to 
strike  him) 

Gloom !  — 
56 


MONA 


Arth 
{sharply) 

Enough  words  I 
Dost  thou  accept  thy  task? 

MONA 

\waveringly^  almost  in  a  whisper) 
What  shall  I  do  .  .   ? 
[The  tide  of  inspiration  flows  over, 
her.     She  throws  herself  erect, 
seeming  to  grow  physically  larger 
in  her  excitement,  her  face  glo- 
rious, her  arms  thrown  outward 
and  upward,  the  sword  shining 
in  her  hand.     Her  words  are  no 
longer  a  wail  of  hesitation,  hut  a 
superb  demand  for  use, 
what  shall  i  do? 

Caradoc 
The  soul  speaks !     Child  and  Queen, 
Cornel 

57 


MONA 


MONA 

Yea,  I  cornel     Let  the  ravens  follow 

me  — 
They  shall  be  filled!     Yea,  let  the  wolves 

howl  I     Fire, — 
Fire,  and  a  sound  of  battle,  and  the  whole 
Manhood  of  Britain  raging  down  to  hurl 
The  wolf-born  Roman  back  into  the  sea ;  — 
Our  towns  made  strong  once  more,  our 

wasted  shrines 
Made  holy,  Druid  and  Bard  called  forth 

again 

From  lurking  In  forgotten  dens,  to  fare 
Once  more  In  honor  over  a  free  land. 
Singing  and  teaching  freedom  I 

[She  is  beside  herself,  Gwynn 
springs  forward  in  an  agony  of 
desperate  authority,  pinions  her 
arms,  and  by  main  force  brings 
her  to  face  him  at  arm's  length. 

58 


MONA 


GWYNN 

Mona  I     Come  down 
Out  of  that  frenzy.     Mona  .  .  .  Look  at 

me! 
This  Is  I,  Gwynn,  a  man,  flesh  and  blood, 

I 
Whose  lips  and  eyes  thou  lovest.  .  . 

IThe  fire  fades  out  of  her  under  his 
eyes.  She  relaxes,  and  her  head 
droops. 

Now  I  —  I  say, 
Thou  shalt  not  murder  all  we  are,  to  feed 
A  fever  and  a  folly. 

[^He  releases  her,  and  steps  hack. 

Love  or  war  — 
Choose  1 

Caradoc 

{slowly  and  gravely) 

Ay,  choose  well. 
59 


MONA 


Gloom 

Vision  or  dream,  that  boy 
Or  Britain,  lust  or  glory  — 

GWYNN 

Let  her  be ! 

Thou  art  fain  to  madden  her  with  words. 

Gloom 

And  thou 
Art  fain  to  eat  her  soul  for  thy  desire, 
To  keep  her  wholly  for  thy  pleasure ;  and 

so, 
Holding  her  merry  body  in  thine  arms. 
To  laugh  at  Britain  I 

[His  profanation  turns  the  struggle. 
Under  the  sting  of  it,  MoNA 
leaps  hack  into  her  martyrdom* 
GwYNN  is  beaten. 

MONA 

Britain,  old  Britain,  Ho  I 
\^The   others   join   in   the   cry.     She 
60 


MONA 


turns  upon  GwYNN  with  hitter 
finality. 

I  will  not  hear  thy  voice  nor  see  thine  eyes 

For  evermore  I 

[As  GwYNN  turns  away  from  her  to- 
ward the  door,  Arth  advances 
upon  him,  with  clutching  hands. 
GwYNN  stops  above  centre,  fac- 
ing him. 

Arth 
Let  me  kill  .  .    I 

Caradoc 

Nay,  we  shed 
No  blood  in  Gorsedd.     If  a  man  swear  an 

oath, 
He  shall  not  break  his  word. 

[They  stand  silent  and  motionless, 
while  GwYNN  draws  back  the 
curtain,  letting  in  a  momentary 
flood  of  pure  sunlight,  passes  out 
slowly  into  the  bright  forest,  and 
6i 


MONA 


is  gone.     The  curtain  falls  he^ 
hind  him  across  the  light. 

Gloom 

For  evermore, 
Thou  shalt  not  see  his  face  I 

[MoNA  stands  motionless ,  with  bowed 
head,  down  centre,  the  sword 
clasped  across  her  bosom,  Car- 
ADOC  crosses  to  her  and  kneels 
at  her  feet,  drawing  his  sword 
and  raising  it  aloft,  Arth  and 
Gloom,  to  right  and  left,  Arth 
above  her  and  Gloom  below,  do 
likewise. 

All 
Hall,  Child  and  Queen!  .  . 

MoNA 

{still  in  an  inspiration) 

Fire  .  .  .  and  a  sound  of  battle,  .  .  and 

a  dream 
Reborn  out  of  old  years,  and  a  new  song, 
62 


MONA 


Terrible  with  the  joy  of  angry  men 
Gaining  and  guarding  freedom  — 

{^The  tension  snaps.  She  drops  her 
arms  and  wilts  as  if  under  a  vio- 
lent blow;  turns  half  toward  the 
door,  and  takes  a  step  as  though 
to  follow, 

—  Gwynn !     Ah,  Gwynn ! 
For     evermore,     I     shall     not     see     his 
face.  .  . 

\_The   sword   falls   from    her   hand. 
She  turns  from  the  door  again, 
buries  her  face  in  her  hands,  and 
shakes  with  sobbing,  like  a  child. 
The  others  have  risen  at  her  first 
giving    way,    and    stand    trans- 
fixed,  their   swords   still   raised 
aloft. 
[The  CURTAIN  delays  for  a  moment, 
to  let  the  picture  strike  home; 
then  falls  quickly. 
END   OF   ACT   FIRST 
63 


ACT  THE  SECOND 

The  Cromlech  in  the  Forest. 
A  Month  Later,  Evening. 


ACT  II 

The  scene  represents  a  Cromlech^  or 
Druidic  open-air  temple  in  the  forest; 
so  placed  that  its  centre  is  in  the  cen" 
tre  of  the  stage,  about  ten  feet  above 
the  footlights.  At  this  point  rises  a 
huge  oak-tree,  venerable  with  mistle- 
toe and  streaming  moss;  whose 
branches,  spreading  out  on  either  side, 
extend  the  whole  width  of  the  pro- 
scenium,  just  under  the  arch.  Imme- 
diately in  front  of  the  tree  is  a  rude 
altar,  composed  of  a  single  block  of 
stone  roughly  rectangular  in  shape, 
about  three  feet  high  and  four  long. 
On  its  front  is  hewn  the  Sign  /j\ 
of  the  Name;  and  those  branches  of 
the  tree  which  reach  out  toward  the 
audience  seem  curiously  to  repeat  this 
67 


MONA 


pgure,  bending  downward  and  out- 
ward in  three  diverging  lines.  Be- 
hind the  tree  is  a  semicircular  wall  of 
large  rough  stones,  whose  diameter  is 
a  little  less  than  the  width  of  the  stage. 
Directly  behind  the  tree  is  an  opening 
in  this  wall y  six  or  eight  feet  wide;  and 
the  semicircle  ends  on  each  side  about 
the  same  distance  above  the  curtain, 
so  as  to  give  the  impression  of  similar 
openings  there  —  as  if  the  other  half 
of  the  circle  were  out  in  the  audience. 
This  wall  is  crumbling  and  irregular, 
nowhere  more  than  four  feet  high:  so 
that  one  looks  over  and  through  it, 
seeing  beyond  it  and  some  distance 
hack  the  huge  standing  stones  of  the 
outer  circle,  separated  by  about  twice. 
their  own  width;  and  between  and  be- 
yond these  again,  green  and  mysteri- 
ous forest  as  far  as  the  eye  can  reach. 
Even  now,  the  structure  appears  old 
68 


MONA 


and  neglected;  the  forest  is  creeping 
in  between  the  stones  of  the  outer  cir- 
cle, and  the  space  between  it  and  the 
wall  is  dotted  with  bushes  and  young 
saplings.  One  or  two  of  the  great 
stones  have  fallen;  the  inner  wall  is 
crumbling  here  and  there,  and  a  few 
loose  stones  are  lying  about  within; 
and  the  ground  there  is  uneven,  and 
covered  with  deep  moss.  Upon  the 
altar  are  the  charred  remains  of  a 
small  pre,  some  time  extinct;  and  the 
moss  thereabout  is  trodden  as  by  many 
feet. 

The  light  is  that  of  a  clear  summer 
evening  just  after  sunset  and  before 
dusk.  Striking  slantwise  across  the 
scene  from  left  to  right,  it  marks  the 
points  of  the  compass  {south  being 
up  stage)  and  the  hour  of  the  day. 
During  the  act,  it  grows  darker  so 
gradually  that  the  advancing  night  is 
69 


MONA 


noticeable  only  as  called  attention  to 
by  the  actors.  And  the  end  of  the 
act  takes  place  in  bright  moonlight. 
As  the  curtain  rises,  NiAL  is  seen  within  the 
inner  circle,  dancing  with  his  shadow; 
at  first  to  left  of  the  altar,  afterwards 
over  the  whole  open  space. 

NiAL 
{still  dancing) 
Brother  am  I  to  all  the  trees,  and  child 
Of  the  warm-sweet  earth  and  the  merry 

sun  — 
And  all  the  birds  and  blossoms  and  wild 

things 
Of    the    forest,    they    are    my    brothers 
too.  .  . 

[A  bird  begins  to  sing  and  flutter 
among  the  branches  above  him. 
He  holds  up  his  arms. 

Come  dance 
With  NIal,  my  brother  I 
70 


MONA 


[  The  bird  lights  on  his  hand. 

They  are  not  afraid  — ■ 
They  know  I  have  no  soul. 

[Dancing  again,   the  bird  fluttering 
about  him. 

Is  It  not  brave 
To  breathe  sweet  breath,  and  sing  under 

the  sun, 
And  laugh  beside  the  fire,  and  have  no 
soul? 

[He  pauses,  to  the  right  of  the  tree,  in 

a  kind  of  dreaminess  which  is 

his  nearest  approach  to  thought. 

Mona  and  Gloom  and  Gwynn  —  all  my 

wise  friends. 
Surely  their   souls   torment   them.     They 

have  strange 
Hot  joys  called  Love  and  Hate  and  Fear, 

wherewith 
To  burn  themselves.  .  .  I  cannot  under- 
stand. .  . 
[Dancing  again. 
71 


MONA 


Nay,  I  had  rather  have  my  playfellow 
To  dance  with.     He  must  be  my  brother 

too, 
For  the  earth  and  the  sunshine  made  him. 

Brother,  come. 
Dance  with  NIal !    Leap  with  NIal !    Ho  I 

[^Pausing  again,  before  the  altar. 

Perhaps 
He  IS  my  soul  ...  I  wonder  .  .  .  and 

perhaps 
Their  souls  are  in  their  shadows;  .  .  for 

their  shadows 
Gleam   in  the   dark  with  strange  bright 

colors  —  green, 
Purple,  and  crimson;  .  .  but  my  shadow  Is 

gray, 
And  In  the  dark  I  have  no  shadow  at 

all.  .  . 
Perhaps  all  souls  arc  shadows.  .  . 

Nay,  come  dance 
With  me,  my  soul  I 

[He  is  still  dancing,  to  left  of  the,  aU 
72 


MONA 


tar,  when  The  Governor,  at  the 
head  of  a  few  Ught-armed  Roman 
soldiers,  enters  up  stage.  They 
push  rapidly  through  the  trees 
and  into  the  inner  circle. 

The  Governor 
{as  they  enter) 
Seize  him  .  .    I  But  slay  him  not  — 
[The  Soldiers  come  down  left  and 
surround  NiAL,  who  makes  no 
attempt  to  escape.    The  Gov- 
ernor comes  down  to  right  of 
the  tree  and  below  it  —  a  sol- 
dierly,   vigorous    man    of  fifty, 
thin-lipped  and   quick-eyed,   the 
black  hair  under  his  helmet  just 
beginning  to   be   threaded  with 
gray;  his  manner  alert  without 
hurry  and  decisive  without  pom- 
posity;  dangerous    and   efficient 
because  free  from  all  doubts. 
73 


MONA 


NiAL 
How  red  your  shadows  are  .  .    I 

What  would  ye  have 
Of  Nial? 

The  Governor 
Come  hither.     Stand  there. 
[Nial  comes  down  beside  the  altar, 
{to  the  soldiers) 

Guard  him. 
[  They  close  in  around  NiAL  with  lev- 
eled spears,     NiAL  remains  ab- 
solutely unconcerned. 

So.  .  . 
{Rapidly  examining  the  altar  and  the 
ground  about  it. 
Footprints !     A  whole  tribe  hath  been  gath- 
ered here  — 
Women,  too.  .  . 

Ashes  I     Ay,  a  sacrifice.  .  . 
[Finding  a  spearhead 
Spears ! 

74 


MONA 


(to  Nial) 
Listen,  thou  I     What  hath  befallen  here? 

Nial 
Nothing.     I  have  been  dancing  with  my 
soul. 

The  Governor 
Answer     me!     Who     met     here?     How 

many  ?     Whence 
And  why  came  they  ? 

Nial 
Gloom  says  I  may  not  know. 

The  Governor 
Who  IS  Gloom,  then? 

Nial 
My  brother.     They  are  all 
My  brothers.     They  have  souls,  and  they 

are  wise. 
They  say  that  ye  are  wolves  that  eat  this 
land; 

75 


MONA 


Therefore,   they  say,   ye   shall   all  surely 

die  — 
But  how  and  when.  Gloom  says  I  may  not 

know.  .  . 

(curiously\ 
What  IS  It  like  to  die  ? 

The  Governor 
(grimly,  but  without  angery 

Thou  shalt  soon  learn  — 
A  sword,  there  I 

[/f  Soldier  draws  his  sword,  and  pre^ 
sents  it  at  Nial's  throat,,    NiAL 
remains  utterly  unimpressed. 
Answer  now  I 

NiAL 

I  cannot  answer  — 
Gloom  says  I  may  not  know. 

[Looking  naively  at  the  sword,  and 
reaching  out  to  touch  it,  as  a  child 
might  do. 

That  sword  Is  like 
76 


MONA 


The  sword  that  Mona  dreamed  of  In  her 
dream.  .  . 

The  Governor 
Bind  him !  .  .  A  bowstring  round  his  tem- 
ples, now  — 
Silence  him  I 

[NiAL,  still  unresisting  and  uncomprC' 
hending,  is  bound  and  gagged, 
A  bowstring  is  knotted  about  his 
forehead,  and  a  stick  thrust 
through  it  to  twist,  GwYNN  ev 
ters  suddenly  from  the  right, 

GWYNN 

Father!  — Hold! 
[The  Governor  turns  to  him  with 
the  same  matter-of-course  formal- 
ity as  if  the  meeting  had  been  ex- 
pected and  ordinary.  GwYNN 
kneels  before  him,  and  The  Gov- 
ernor lays  a  hand  upon  his  head. 
11 


MONA 


The  Governor 

Quintus,  my  son, 
I  bless  thee. 

GWYNN 

(rising,  to  the  soldiers)] 
Let  him  go  —  unbind  him ! 
[They  obey  without  waiting  for  any 
confirmation      of      the      order. 
GwYNN  turns  to  explain. 

Nay, 
Father,  he  would  not  speak :  he  Is  one  from 

whom, 
Unborn,     earth-daemons     reft     the     soul 

away  — 
The  harmless,  empty  body  of  a  man. 

NiAL 

Gwynn,  I  give  thanks;  they  would  have 

done  me  harm.   .   . 
Surely  these  are  not  wolves  —  the  wolves 

are  all 
My  brothers. 

78 


MONA 


GWYNN 

Nial  — 
[NiAL  seats  himself  up  to  left  of  the 
tree,  interested  hut  quite  out  of 
the  scene.  The  Soldiers  draw 
up  in  a  rigid  line  at  the  left  end 
of  the  wall. 

My  father,  ask  of  me. 
\^He  throws  off  his  green  robe,  disclos- 
ing beneath  it  the  white   tunic, 
breastplate,  and  short  sword  of  a 
centurion, 
I  am  a  Roman  soldier,  and  thy  son. 

The  Governor 

Therefore   I   came  here.     Majiy  tongues 

have  said 
Thou  wert  a  Briton,  and  mine  enemy. 

GWYNN 

Dost  thou  believe  this,  father? 
79 


MONA 


The  Governor 

Quintus,  no. 
I  believe  no  dishonor  of  my  blood 
By  hearsay.     Answer  therefore. 

This  whole  land 
Which  late  lay  more  at  peace  than  ever, 

now 
Hums  like  a  hive  in  swarm.     Over  the 

length 
And  breadth  of  Britain,  every  camp  and 

town 
Sends   in  the   same  tale  —  gatherings  by 

night, 
Forbidden  sacrifices  In  old  shrines, 
Forging  of  weapons,  Druids  preaching  war. 
And  here  and  there  some  lonely  Roman 

slain 
Out  in  the  forest.     Southward,  our  own 

towns 
Return  seditious  rumors. 

What  hast  thou 
To  say  of  this? 

80 


MONA 


GWYNN 

It  is  all  true. 

The  Governor 

I  have  heard 
Of  one  going  about  among  the  tribes 
To  rouse  revolt  —  a  woman,  beautiful  — 
Her  thou  hast  guarded  and  defended,  held 
Our  garrisons  from  taking  her,  and  left 
Her  free  to  stir  up  trouble  at  her  will  — 
What  of  this? 

GWYNN 

X^s  before,  without  the  least  shame 
or   embarrassment,    meeting   his 
father^ s  look  fairly. 
It  Is  true  ...  I  love  her. 

The  Governor 
[Not  shocked,  nor  as  a  mentor,  but  as 
one  who  hears  quietly  the  con- 
firming of  a  shameful  suspicion. 
8i 


MONA 


Boy, 
Man's  honor  Rath  no  subtler  enemy 
Than  longing  for  a  woman. 

GWYNN 

She  Is  more, 
Father  —  she  Is  their  queen,  even  as  though 
Boadlcea  came  on  earth  again, 
Whom  they  believe  and  follow ; 
(emphatically) 

Winning  her, 
I  win  at  once  all  Britain. 

The  Governor 

Take  her,  then! 
I  took  thy  mother  captive  even  so.  .  . 
She,  lying  by  my  side,  saved  many  lives. 

GwYNN 

(with  premature  triumph) 
Mona  and  I  together  shall  save  all  — 
Yet  wherein  should  her  body  profit  me 
But  if  I  win  her  will? 
82 


MONA 


The  Governor 
{impatiently  practical) 

Play  not  with  words  — 
A  woman's  heart  is  In  her  body,  Boy  — 
I  had  thought  thee  more  a  man ! 

Enough !     Meanwhile, 
What  of  this  war? 

GWYNN 

There  was  to  have  been  war ; 
There  shall  be  peace. 

The  Governor 

Their  plans,  then  —  ? 

GWYNN 

I  have  sworn 
Not  to  betray  — 

The  Governor 
(losing  patience) 
Betray !     Canst  thou  betray 
Enemies? 

83 


MONA 


(with  infinite  scorn) 
An  oath  to  a  Barbarian  .  .    1 

GWYNN 

An  oath  to  their  god,  that  Is  my  god,  too. 

The  Governor 
Gods !     In  these  times,  we  make  new  gods 

each  day! 
There  Is  but  one  god  for  a  man  —  his  name 
Is  Duty.     Speak ! 

GWYNN 

Father,  If  a  man  swear, 
He  shall  not  break  his  word.     .     .     . 

[The  Governor's  patience  gives  out 
altogether;  he  motions  to  The 
Soldiers,  who  spring  forward. 
Nay,  hear  me.  .  . 
[He  stretches  out  his  arms.  The 
Governor  hesitates  an  instant, 
then  stops  The  Soldiers  with  a 
gesture,  and  paces  frowningly  to 

84 


MONA 


and  fro  before  the  altar  while 
GwYNN  continues;  showing  no 
sign  of  relenting,  or  even  of  being 
impressed. 

All 
These  years  of  peace  are  mine  —  my  work. 

I  went 
Among  my  mother's  people,  owned  their 

god, 
Became  their  Bard,  knew  them  and  .  .  . 

honored  them  — 
Do  men  love  legions,  or  confide  In  foes? 
They    hate    Rome;    I    have    healed    that 

hatred.     Now, 
Where  the  old  scars  ache  shall  we  stab 

again 
Till  the  whole  body  perish?     True,  our 

arms 
Will  crush  them  down.     How  long  will 

they  He  still? 
Hearts,  not  swords,  make  our  Roman  prov- 
inces I  — 

85 


MONA 


Let  peace  make  one  conquest  that  shall  en- 
dure! 

The  Governor 

{pausing) 

Words    again!     When    a    sullen-snarling 

hound 
Slinks  close  behind  thy  heel,  dost  thou  de- 
lay 

For  parley?     Strike  the  first  blow,  and  be 
done! 

GWYNN 

These  are  no  curs,  to  snarl  and  lick  the 
lash  — 

These  are  they  whom  great  Caesar  could 
not  quell ! 

[The  Governor  faces  him,  im- 
pressed for  the  first  time. 
GwYNN  goes  on  with  the  au- 
thority and  confidence  of  his 
ideal, 

86 


MONA 


My  way  or  thine  —  One  peace  or  many 

wars  — 
Choose!     Art  thou  general,  or  governor? 

The  Governor 

Thou  hast  failed  thy  duty;  wilt  thou  teach 
me  mine? 

GV^YNN 

(steadily) 
Truth  spoken  by  a  traitor  still  is  true. 

The  Governor 

[With  a  gesture  of  almost  weary  im- 
patience. 
Words    again!     Show   me    deeds.     How 

shall  we  try 
Thy  truth? 

GWYNN 

I  said  there  was  to  have  been  war ; 
I  say  there  shall  be  peace. 
87 


MONA 


The  Governor 

Then  prove  thyself !  — 
{^He  pauses,  for  a  moment  of  judg- 
ment; then  delivers  his  ultimatum 
with  deliberate  emphasis. 
See  now : 

I  hold  these  dogs  in  my  two  hands, 
And  if  they  move,  I  break  them. 
{with  a  gesture) 

Thou  hast  said 
They  will  obey  thee ;  prove  it.     Hold  their 

hands 
From  bloodshed,  and  I  pardon  them.     Let 

one 
Drop  of  blood  flow,  and  I  will  drown  their 

vain 
Rebellion  in  a  surge  of  death,  burn  out 
Conspiracy  with  fire,  and  crucify 
False  hopes  on  every  tree  in  the  forest  1 
{more  slowly  and  calmly) 

Now, 
88 


MONA 


Save    them.     Thou    art    their    fate.     All 

hangs  on  thee. 
Let  them  He  still  and  live,  or  strike  and  die  I 
I  have  spoken. 

GWYNN 

It  is  well ;  I  ask  no  more  — 
tet  them  He  still  and  live,  or  strike  and 

die!  — 
Mona  and  I  shall  hold  them  harmless. 

The  Governor 

{with  a  last  suspicion,  looking  keenly  into 
Gwynn's  eyes) 

Boy, 

Thou  hast  thy  mother's  blood.  .  .  If  I 

could  think 
Thy  double  garment  held  a  double  heart  — 

GWYNN 

{not  theatrically,  hut  very  quietly) 
Two    garments,    father,    but    one    heart 
within ; 

89 


MONA 


Two  nations,  and  one  blood.  .  . 

Nay,  I  confess 
That  I  have  let  the  weight  of  my  great  love 
Hang  round  the  neck  of  duty.  .  .  Now  I 

pray  tEee 
Trust  me  ...  or  trust  me  never. 

IHe  kneels,  as  at  first.  The  Gov- 
ernor, with  the  first  gentle 
emotion  he  has  shown,  repeats 
the  gesture  of  blessing. 

The  Governor 

Be  It  so  — 
I  trust  thee  then  ...  my  son ! 

[GwYNN  rises,  and  they  grip  hands. 
If  thy  faith  fail, 
Let  me  die ! 

GWYNN 

The  dusk  falls.  .  .  Ye  are  too  few 

For  safety.     I  will  guide  you  to  the  town. 

\During  the  preceding  scene,  it  has 

been  growing  darker  so  gradu- 

90 


MONA 


ally,  that  only  now  does  one  real- 
ize that  it  is  twilight.  The  Gov- 
ernor, motioning  The  Sol- 
diers to  follow,  goes  out  centre, 
GwYNN  walking  by  his  side. 
NiAL,  rising,  follows  them  with 
his  eyes  until  they  disappear 
among  the  trees.  When  he  can 
no  longer  hear  them,  he  turns 
and  comes  slowly  down. 

NiAL 

Red    shadows,    and    the    souls    of    angry 

men.  .  . 
It  must  be  all  true,  or  else  all  a  dream! 
[He  lies  down  at  full  length  before  the 
altar ,  gazing  into  the  dusk.     The 
moon  is  just  rising,  shown   by 
the  direction  of  the  stage  light 
changing  and  the  shadows  fall- 
ing from  right  to  left;  and  her 
light   increases  as  gradually   as 
91 


MONA 


the  daylight  has  waned,  until  by 
the  time  of  Arth^s  entrance  it  is 
full  moonlight. 
Night,  and  cool  winds.  .  .  How  still  the 

forest  Is, 
Now  they  are  gone!     My  brothers   are 

asleep 
Already.  .  .  Only  the  hushed  owl  drifts 

by, 
Silently    as    a    winged    shadow.  .  .  And 

there 
The  quick  bat  flutters  past,  a  messenger 
To  wake  the  Little  People  —  Nial  knows  I 
Now  the  small  voices  under  all  the  leaves 
Are  telling  secrets.  .  . 

{^As  Nial  pauses,  Mona  and  Gloom 
enter  slowly  from  the  right. 
MoNA  is  still  in  her  white  robe, 
with  a  spear  and  a  short  byrny 
over  which  the  sword  is  girt  from 
her  shoulder;  but  she  has  neither 
helmet  nor  shield. 
92 


MONA 


MONA 

Niall     Art  thou  alone? 

NiAL 

My  sister  .  .   ! 

IHe  rises,  and  stands  looking  at  her 
wonderingly. 

Thou  art  very  beautiful 
And  very  far  away  — 

Gloom 

Nial,  what  news? 

NiAL 

The  Little  People  will  be  out;  the  bat 
Has  just  gone  — 

Gloom 

{impatiently) 

Where  Is  Arth? 

NiAL 

I  know  not. 
93 


MONA 


Gloom 

Go 

And  seek  him. 

[NiAL  goes  out  left,  Gloom  turns 
abruptly  to  MoNA,  who  is  stand- 
ing with  bowed  head  before  the 
altar. 

We  have  little  space  to  dream. 
Our  war  begins  at  midnight  —  before  then, 
Sacrifice    and    sword-giving.     Hast    thou 

kept 
The  tallies  ? 

MONA 

Here.  .  . 
\She  hands  him  square  wooden  bars 
carved  with  runic  signs.  He 
seats  himself  on  the  rock,  right, 
reading  them  and  making  addi- 
tions with  his  knife. 

Gloom 
Twelve  myriad  fighting  men  I 
94 


MONA 


Rome  has  not  half  so  many  souls  alive 
In  Britain !     So  our  work  ends  —  to-night, 

war  — 
To-morrow,  victory  I 

MONA 
{turning  from  the  altar ^  slowly) 

If  we  ourselves 
Fall  not.  .  . 

Gloom 
Dost  thou  fear  failure? 

MONA 

\_Moving  slowly  away  from  him,  to 
left  of  altar. 

Nay,  not  fear  — 
Only  ...  all  hangs  on  us. 
{pausing) 

If  yonder  town 
Fall  to-night,  then   from  hill  to  hill  our 
fires 

95 


MONA 


Shall  flash  the  tidings,  till  all  Britain  flares 
Into  one  blaze  ere  dawn.     But  ...  If  we 

fail, 
How  then? 

\turning  toward  him) 
Were  it  not  better  all  should  strike 
At  one  forechosen  hour,  waiting  no  sign? 

Gloom 

What  matter?     We  but  prove  our  faith. 

[He  thrusts  the  tallies  into  his  girdle, 
and  rises. 

Nay,  more  — 
Thou  art  here ;  Thou,  the  old  Queen's  soul 

reborn 
Our  leader  and  our  strength.     What  fight 

can  fail 
Where  thou  art?     All  the  hope  of  Britain 

waits 
Thee,  and  thee  only  1 
96 


MONA 


MONA 

I  to  fight  with  men.  .  . 
To  pierce  flesh  .  .  .  and  see  blood  flow  .  .  . 
IShe  is  standing  below  him  and  to  left, 
her  head  hent,  her  spear  held 
slantwise  across  her  body  by  the 
incongruous  gesture  of  clasping 
her  hands  at  her  breast. 

Gloom 
{at  his  full  height,  magnificently) 

Thou  to  save 
And  conquer  I 

{advancing,  in  an  ecstasy) 
Have  no  fear  —  thy  womanhood 
And  the  beauty  of  thee  shall  burn  before 

them,  fair 
And  terrible,  a  sweet  white  flame  of  war, 
A  light  from  old  years,  and  a  wonderful 

death. 
And  a  dream  plunging  down  eternity 
To  change  the  world. 
97 


MONA 


[He  is  close  before  her,  aflame  with 
an  ardor  which  he  struggles  to 
color  with  patriotism.  This  at 
first  she  does  not,  and  then  will 
not,  see, 

MONA 

{impulsively) 
Gloom,  thou  art  glorious  .  .   ! 
If  I  were  sure  — 

Gloom 

Thou  and  I  throned  above 
Rejoicing    freedom  —  Thou    and    I    one 
power  — 

MONA 

Brother  and  sister  — 

Gloom 

Priest  and  prophetess, — 
One  soul  to  be  remembered  when  our  bones 
Blossom  together  — 
98 


MONA 


MONA 

Let  my  work  not  fail  — 
I  ask  no  more.     Take  thou  the  glory. 

l^She    draws    back    from    him.     He 
throws  off  the  mask. 

Gloom 

Child, 
How  have  I  any  glory  but  in  thee  ? 
How  have  I  borne  thy  beauty?     How  en- 
dured 
These  long  dry  years  of  brotherhood  — 
\^He  stretches  his  arms  to  her.     She 
springs  hack,  turning  so  that  the 
light  falls  upon  her  face,  a  frozen 
majesty  in  every  line  of  her. 

MONA 

Gloom,  Gloom, 
I  am  not  woman,  but  a  sword ;  not  flesh. 
But  steel.     Who  but  thine  own  self  taught 
me  this? 

99 


MONA 


Gloom 
It  is  true.  .  . 

[He  draws  hack,  conquered  as  much 
by  reason  as  by  her  greater  faith, 
NiAL  enters,  from  the  left,  fol- 
lowed by  Enya  and  Arth. 

NiAL 

They  are  here,  under  the  moon ; 
Their  souls  reach  forth  before  them. 

Enya 

{embracing    MoNA,    with    half -hysterical 

motherliness) 

My  little  one 
That  loved  me.  .    ! 

\_They  move  across  to  the  altar, 
then  draw  apart:  MoNA  stand- 
ing at  the  right  lower  corner  of 
the  altar,  Enya  a  little  above 
the  altar,  to  left  of  the  tree. 
Gloom   and  Arth    are   below 

100 


»  .  '  .    »  ». 


monA 


them,  to  right  and  left,  NiAL 
remains  near  the  left  end  of  the 
inner  wall, 

Arth 
Gloom,  how  have  ye  fared? 

Gloom 

We  count 
Twelve  myriad  fighting  men. 

Arth 

And  the  time? 

Gloom 

To-morrow. 
We  ourselves  move  at  midnight  on  the 
town. 

Arth 

{drunk  with  hate,  brandishing  his  spear, 
and  shouting) 

Ourselves  first?     I  grow  young  again! 

lOI 


MONA 


Ha,  wolves 
That  feast  and  frolic  yonder,  sweet  with 
-oil 

And  glad  with  garlands  —  It  shall  not  be 
long, 

Not  long,  now,  till  the  end! 

MONA 

{^Before  the  altar,  facing  forward,  her 
arms  upraised,  her  face  tense 
with  inspiration. 

Until  the  end.  .   I 

Enya 

{taking  a  step  toward  her,  timidly) 

Child,  art  thou  that  same  child  that  pushed 
my  breast 

With  baby  hands,  and  walled?     Thou  art 
glorified  — 

There  Is  a  light  about  thee,  and  a  power  — 

102 


MONA 


MONA 

{rigid,  her  arms  at  her  sides,  looking  into 

infinity ) 
I  have  remembered  old  years,  and  seen  men 
Fall  down  and  worship  me. 

Enya 

Did  they  believe  — . 
All  those  wild  folk  —  ? 

MONA 

{half  to  herself) 

It  is  as  if  these  trees 
Bowed  themselves  down  before  me  —  as  if 

the  sea 
Obeyed   me  —  yet   not   me,   but   what   I 
am.  .  . 
A  vision  of  swift  journeyings  by  day, 
Glimmering    forests,    windy    crags,    lone 

moors 
Immeasurable  where  birds  cry,  and  gray 
sands 

103 


MONA 


Thunderous  with  the  ever-changing  sea  — 
Torches   and  shouts,   wild   gatherings   by- 
night, 
And  firelit  circles  of  astonished  eyes. 
Men    falling   on   their   faces,    oaths   and 

prayers.  .  . 
Strange  as  a  dream's  fulfilment  of  a  dream ! 
I  have  heard  voices  in  the  dark,  and  seen 
Visions  of  kings  forgotten,  bidding  me 
Go  forward,  and  be  strong,  and  have  no 

fear  — 
I  have  dreamed  of  the  White  World,  and 

God's  love 
Bathing  me  like  sweet  flame.  .  . 

Arth 

Enough  of  dreams ! 
Come,    let    us    feast    before    the    battle. 


Come! 
The  time  passes. 


104 


MONA 


MONA 
I  have  no  need  thereof. 
Leave  me  here  for  a  little  while,  to  pray. 

Enya 
Is  there  no  danger?  — 

Arth 

Nay,  with  Nial  at  hand 
No  harm  can  fall.     Come,  then.  .  . 

IHe  leads  the  way  out  to  the  left. 
Enya  hesitates,  then  follows. 
Gloom,  going  out  last,  pauses  to 
took  hack  at  MoNA  standing  to 
right  of  the  altar  and  just  be- 
low it. 

Gloom 
(slowly) 
Foredoomed,  ordained, 
Prophesied.  .  . 

[He    goes    out.     In    the    quietness, 
NiAL  suddenly  lifts  his  head  and 
listens  to  something  in  the  forest. 
105 


MONA 


NiAL 

Mona  —  Hark.  .  . 

MONA 
{hearing  nothing) 

What  IS  It,  Nial? 

NiAL 

The    Little    People  —  They    are    calling 
me.  .  . 

MONA 
Go  to  them. 

[He  goes  out,  up  stage,     Mona  leans 
her  spear  against  the  tree;  moves 
to  the  front  of  the  altar,  draws 
the  sword,  and  lays  it  thereupon; 
then  kneels  before  it,  facing  up 
stage. 
Night  and  day,  deed  and  dream,  sight 
And  vision  —  all  one   faith,   all  one   de- 
sire — 
Britain.  .  . 

1 06 


MONA 


[A  pause,  Gwynn  enters  quietly 
from  the  right.  He  stands  a 
moment  watching  her,  just  inside 
the  circle, 

Gwynn 
\to  himself y  softly) 
God  help  me  now. 
[^Another   pause,     Mona    gradually 
becomes  aware  of  his  presence, 
and  rises,  facing  him,  her  right 
hand  on  the  sword,  her  left  at 
her  throat.     When  she  speaks, 
her  voice  is  tense  and  hollow,  hut 
unfaltering, 

MONA 

What  dost  thou  here? 

Gwynn 

What  I  have  ever  done. 

Mona 
Thou  art  faithless.     Go  I 
107 


MONA 


[/^  is  the  same  tone  and  manner  that 
crushed  Gloom  a  little  while 
since;  but  this  is  not  Gloom. 
He  goes  on  quite  evenly. 

GWYNN 

Why?     Dost  thou  fear  to  look  upon  me, 

lest 
Thine  heart  change? 

MONA 

{stung  out  of  her  heroics,  and  struggling 
for  self-possession) 
Fear! 
{scornfully) 

I  will  not  see  thy  face. 
Get  hence  I 

GwYNN 

{advancing  upon   her,   while  she  shrinks 
away,  the  sword  clasped  to  her  breast) 
Cry  out  then.     Is  one  traitor's  life 
io8 


MONA 


So  great  a  matter?     Thou  that  art  to  slay 
Thousands  ere  dawn,  canst  thou  not  see  me 
die? 

MONA 

{desperately) 
Go  from  me! 

GWYNN 

{still  nearer) 
True,  thou  hast  loved  me.     True, 
thine  heart 
Cries  out  for  me  —  What  matter  ?     Thou 

art  not  flesh 
But  steel.     Summon  thy  swords  I 

MONA 
{recovering  herself  and  rising  into  a  mar- 
tyrdom; facing  him  calmly,  with  the  al- 
most pitying  tone  of  one  who  will  not 
stoop  to  anger) 

Gwynn,  presently 
I  must  fight.     Peradventure  I  must  die. 
109 


MONA 


Canst  thou  not  hush  that  little  fleshly  wail 
Called  love,  and  leave  me  here  with  God? 

GWYNN 

Canst  thouf 

MONA 
{with  quiet  finality ,  her  hands  pointing  to 

the  sign  upon  her  breast) 
I  bear  the  Sign  here  of  a  greater  thing. 
Whereto  I  am  reborn.     I  am  not  myself, 
But  Britain. 

(^turning  away  to  the  altar  as  if  he  were  not 
there) 
Go  now. 

GwYNN 

Therefore  I  am  here : 
There   is  yet   time   to  save   Britain   and 

thee.  .  . 
—  Now  all  things  take  one  answer ! 

[He  takes  her  suddenly  in  his  arms. 
She  turns,  writhing  away  from 
no 


MONA 


him,  her  body  bent  backward, 
and  her  head  falling  against  his 
shoulder.  Even  at  first,  she  can' 
not  struggle  with  her  full 
strength;  and  presently,  as  her- 
self overpowers  her,  she  grows 
more  quiet,  and  at  last  quite  still. 
Struggle  now  — 
Call  to  thy  friends.  .  . 

Look !     Thou  and  I  alone 
In  the  whole  great  world,  under  the  dim 

sky, 
And  the  night's  arms  around  us.  .  . 

MONA 

Let  me  go  — 

GWYNN 

Night,  and  earth  yearning  upward  to  the 

moon, 
And  the  shadows  calling  to  us,  and  the 

winds 

III 


MONA 


Dizzy  with  sweet,  and  the  summer's  huge 

heart,  slow 
Throbbing  around  us.  .  . 

Thou  and  I  close,  close.  .  . 

MONA 

(with  closed  eyes) 
Be  still  —  I  will  not  hear  thee.  .  . 

GWYNN 

Night,  and  thou 
Near  me  amid  the  moonbeams,  beautiful  — • 
A  lily  on  the  gloom  of  a  dim  lake. 
Thy  golden  heart  wide  open  to  the  wind, 
A  freshness  and  a  fragrance  glimmering  up 
Out  of  cool  depths  —  A  wild  bird  with 

glad  eyes  — ' 
A  mystery  beyond  all  dreaming  dear. 
Holier  than  the  hope  of  pleasing  God, 
More    to    be    hungered    after    than    lost 

youth, — 
Lips  and  arms,  life  and  glory,  mine,  mine, 

mine  — 

112 


MONA 


\^He  stops  suddenly,  releasing  her. 
She  falls  back  a  step  below  and 
to  right  of  him,  and  stands  half- 
stunned,  her  hands  over  her  eyes, 
GwYNN  catches  the  sword  from 
the  altar,  and  holds  out  the  hilt 
to  her,  speaking  with  a  sudden 
jarring  sharpness. 
Take  thy  sword.     I  shall  die  by  that  same 

blade. 
So  be  It. 

Strike  now. 

[Her  hands  drop.  She  gazes  at  him 
blindly  a  moment;  then  the  flood 
breaks, 

MONA 

Gwynn.  .  .  Ah,  come  to  me  I 

\She  stretches  forth  her  arms  to  him. 
He  flings  away  the  sword;  they 
hold  each  other, 
113 


MONA 


GWYNN 

Mona.  .   ! 

^A  short  pause.  He  draws  her  down 
beside  him  on  the  rock,  she 
half  reclining  below  him  and 
lower  down,  her  head  resting 
against  his  knee;  he  bending  over 
her. 
Night,   and  thou  near  me   in  the   warm 

gloom.  .  . 
And  on  thy  lips  a  faintness  and  a  flame  —  I 
All  the  vain  sorrow  forgotten  —  all  our 

dreams 
New  born,  sweet  with  surrender  —  won- 
derful, 
Holy  .  .  . 

Mona 
There  is  a  cloud  over  the  moon  — 
I  cannot  see  thy  face.  .  .  Only  thine  arms 
Around  me  like  strong  sleep.  .  .  Only  thy 
voice  — 

114 


MONA 


And   all  our   children   laughing   in   thine 

eyes  .  .    I 
And  it  is  good  for  me  to  put  away 
Weariness,  and  the  fever  of  high  deeds, 
And  the  dry  hunger.  .  .  Now  earth  sinks 

and  swims 
Falling,  and  the  great  river  of  joy  flows 

down, — 
Inevitable,  tender,  luminous, — 
And  whelms  me,   and  I  float  under  the 

moon 
Quietly,     toward     the     foam-bright     sea 

...  Down,  down. 
Where  the  glimmering  shores  grow  faint, 

and  darkness 
Buries  the  sky,  and  the  stars  drown,  and 

the  deep 
Rises  over  me,  and  I  dream.  .  . 

How  soft 
Thy  hair  is,  Gwynn.  .  . 

Far  off  In  the  dead  void. 
Torches  flare,  and  I  hear  a  murmuring 
115 


MONA 


Of  old  wars,  and  fierce  multitudes  that  howl 

For  me  to  lead  them,  wailing  women, 
prayers. 

And  clanging  swords  and  shrieking  prophe- 
cies— 

All  dull  and  ugly  like  some  old  ill  dream. — 

Ah,  let  me  not  remember.  .    I 

GWYNN 

Dear,  I  bid  thee 
Remember,  and  rejoice  in  all.  This  night 
Thou  hast  saved  Britain. 

MONA 

Britain.  .  .  Let  me  go  I 
{^The  spell  is  broken.  She  shakes 
herself  free  and  stands,  dazed, 
between  the  rock  and  the  altar, 
GwYNN,  also  on  his  feet,  and  not 
realizing  the  change  in  her,  goes 
on  confidently. 

What  have  I  done  ? 

ii6 


MONA 


GWYNN 
I  would  not  speak  till  now  — 
I  would  not  buy  thy  heart  for  promises  — 
Now  it  is  finished  I  I  must  have  thee  first 
Made  queen  over  all  Britain,  then  all  mine, 
Now  all  for  peace. 

"  Let  them  lie  still  and  live, 
Or  strike,  and  die!  " 

Mona,  hear  me  —  we  two 
Shall  join   in  one  firm   love   Britain  and 

Rome 
Forever  I 

Mona 
Gwynn.  .  .  I  cannot  see  thy  face.  .  . 
It  is  all  dark.  .  . 

Gwynn 

{too  full  of  his  triumph  to  realize  that  she 
hardly  hears  him) 
Dost  thou  need  proof?     What  held 
The  Roman  garrisons  from  taking  thee? 
117 


MONA 


Child,  thou  hadst  been  a  prisoner  twenty 
times 

But  for  me. 

MONA 

\harshly  and  dully) 
What  hast  thou  to  do  with  Rome  ? 

GWYNN 

Not  less  than  thou  with  Britain.     My  one 
voice 

Answers  for  Rome  here  — 

MONA 

What  hast  thou  to  do 
With  Rome? 

GWYNN 

I  am  Roman  born  — 

MONA 

Thou  —  Roman  .  .   ? 
ii8 


MONA 


Yea, 


GWYNN 

Moreover  — 

MONA 

Help,  Ho! 

GWYNN 

{utterly  surprised)^ 


Mona  — 


MONA 

'{frantically) 

Treason  I     Help,  Hoi 

[She  catches  up  the  sword  from  the 

ground,   and  swings   it  at  him, 

crying: 

By  this  same  blade  it  is  thy  doom  to  die  1 

[He  catches  her  arm,  and  wrests  the 

sword  from  her.     As  he  does  so, 

Arth  rushes  in  centre  followed 

by  a  shouting  crowd  of  Britons 

119 


MONA 


with  torches  and  spears;  and 
from  the  left,  a  throng  of  Bards 
and  Druids,  led  by  Glck)M  and 
Caradoc,  pour  in  and  across  the 
stage.  More  and  more  keep 
pouring  in,  men  and  women, 
shouting  and  tossing  their  weap- 
ons. MoNA  springs  hack  up 
stage  and  to  the  right  to  let 
them  pass,  pointing  accusingly 
at  GwYNN.  Arth  reaches  him 
first,  and  strikes  at  him  with  his 
spear.  Gloom  attacking  him 
from  the  left  almost  at  the  same 
instant. 

Arth 

\as  he  strikes) 

Ha,  Gwynn  the  Peacemaker ! 

[GwYNN    parries,    and   strikes    him 
down  with  the  hilt, 

120 


MONA 


Gloom 
(as  he  strikes) 

At  last  I 
[GwYNN,  his  hack  against  the  rock, 
disarms  him,  and  hurls  him  hack 
among  the  crowd.  But  by  this 
time  the  crowd  has  reached  him, 
and  still  others,  rushing  in  right, 
attack  him  from  behind.  He  is 
instantly  surrounded,  disarmed, 
pinned  down  upon  the  rock,  and 
threatened  by  many  weapons. 
MONA  stands  above  and  to  the 
right  of  GwYNN,  upon  a  rising 
ground  that  makes  her  clearly 
visible  above  the  heads  of  the 
crowd;  Arth  and  Gloom  are 
upon  their  feet  again,  and  push- 
ing forward,  Arth  to  right  of 
the  tree  and  Gloom  down  stage 
to  left  of  the  altar;  Caradoc  is 

121 


MONA 


before  the  altar,  and  Enya  up 
left,  among  the  crowd.  The 
stage  is  full  of  raging  men, 
screaming  women,  and  waving 
torches. 

Voices  in  the  Crowd 
{as  GwYNN  is  overpowered) 

Who  is  he? 
Enya 
Blood!     Blood  I 

MONA 

{pointing  to  Gwynn  with  the  sword) 
He  IS  — 
{^The  crowd  suddenly  quiets  to  listen; 
and  in  the  momentary  hush, 
Mona's  rage  looks  upon  itself. 
She  could  have  killed  Gwynn 
with  her  hands  a  moment  since; 
hut  now,  in  cold  blood,  she  can' 
not  hand  him  over  to  be  torn  in 

122 


MONA 


pieces.  She  raises  her  arms  in 
the  sign  of  the  Name;  her  tone 
changes. 

He  IS  a  Bard  I 
\_The  crowd  hears  hack  from  Gwynn, 
astonished  and  awed,  Cara- 
DOC,  Arth,  and  Gloom,  break 
through  the  shrinking  circle  of 
them  and  wave  them  on. 

Gloom 

Heed  her  not ! 

Caradoc 
He  is  not  one  of  us  I 

Arth 

Kill  I     Kill! 

[The  tumult  rises  afresh,  Mona 
pushes  forward  in  front  of 
Gwynn,  driving  the  Britons 
hack. 

123 


MONA 


MONA 

Hold  off, 
On  your  lives  I     Back ! 

[She  turns,  facing  the  three  leaders. 
Who  am  I  .  .    ?     Answer  me  I 
Who  am  I  .  .   ? 

Caradoc 
The  Queen  I 
[A  short  pause.     No  one  moves  or 
questions  her  wilL     She  turns  to 
the    Britons    who    are    holding 
GWYNN. 

MONA 

Bind  him  and  lead  him  hence  — 
Do  him  no  hurt.  .  . 

[As  GwYNN  is  swallowed  up  in  the 
crowd,  she  turns  hack  to  the 
others,  once  more  an  inspired 
Amazon, 

124 


MONA 


Give  out  the  swords  I     Wait  not 
For  midnight  —  Call  the  warriors ! 

Gloom,  Arth,  Caradoc 

It  Is  not  time  — 

MONA 

I    am    the    time  —  obey  I     Give   out   the 

swords ! 
Rouse  the   tribe!     Sound  the   gathering  I 

Bring  hides, 
Fagots  and  ladders  —  Give  each  man  a 

torch  — 
To  your  work,  Druids!     Onward,  by  the 

Sign 
Of    the    Name!     Britain,    Old    Britain! 
Ruin  to  Rome ! 

{^During  these  last  lines,  men  have 
been  hurrying  about,  bringing  in 
torches,  ladders,  weapons,  etc., 
until  the  stage  is  crowded  and 
tumultuous  with  tossing  lights 
and  busy  and  disheveled  figures, 
125 


MONA 


A  fire  is  kindled  on  the  altar,  and 
Gloom  and  Caradoc  take  their 
places  to  right  and  left  of  it,  and 
Druids  and  the  Bards  grouped 
behind  them,  filling  the  space 
immediately  about  the  tree, 
MoNA  stands  upon  the  rock  to 
the  right,  directing  all;  Arth 
and  Enya  up  stage  to  the  left 
of  the  tree;  and  the  whole  space 
above  and  around  filled  with 
confused  preparation.  As  the 
Bards  take  their  place  they  raise 
the  following  chant,  the  tribes- 
men joining  in  and  brandishing 
their  torches  and  weapons  in 
time  to  it  as  they  hurry  about: 

Chorus 
I 
Out  of  the  dim  dens 
Under  the  mountains, 
126 


MONA 


Forth  from  the  forest, 

Far  from  the  fenlands  — 

Summon  the  swordsmen, 

Waken  the  warriors, 

Gather  the  Druids 

To  battle  for  Britain  — 

(Long  swords  for  old  Britain — ) 

Ruin  to  Rome! 

[Three  men  come  in  left,  hearing  arm- 
•fills  of  long  naked  swords,  which 
they  lay  before  the  altar,  Mona 
descends  from  the  rock,  sheath- 
ing her  sword,  and  places  herself 
before  it.  As  she  sings,  together 
with  the  Druids  and  Bards  about 
the  tree,  the  second  stanza  of 
the  chant,  she  raises  each  sword 
in  both  hands  high  above  her 
head,  passes  it  from  right  to  left 
in  a  circle  around  the  fire,  and 
hands  it  to  Gloom  or  Caradoc, 
who  present  it  to  a  Bard  or  Druid 
127 


MONA 


kneeling  to  receive  it.  As  each 
receives  his  weapon,  he  rises  and 
rushes  out  through  the  crowd, 
waving  it  aloft. 

MoNA,  Gloom,  Caradoc 
AND  THE  Priests 

II 

By  the  soul  In  the  flame, 

By  the  death  in  the  earth, 

By  the  life  in  the  air  — 

By  the  sound  of  the  Name 
That  no  mortal  may  bear, 
Bringing  ages  to  birth  — 

For  the  freedom  denied  us, 

For  the  shame  of  the  slave  — 

Give  swords  to  the  swordless, 

Bright  blades  to  the  Bards, 

White  death  to  the  Druids  — 
To  guard  us,  to  guide  us, 
To  slay  and  to  save ! 
128 


MONA 


{With  the  singing  of  the  third  stanza, 
the  tribesmen  and  their  women 
begin  to  rush  out  and  away  into 
the  forest  in  savage  disorder ,  by 
twos  and  threes,  still  singing. 
The  stage  darkens  gradually,  as 
the  torches  more  and  more  are 
carried  away;  and  by  the  end  of 
the  stanza,  only  the  altar-fire 
flickers  against  the  moonlight, 
Arth  follows  the  Britons. 
MoNA,  Gloom,  and  Caradoc 
are  still  in  their  places  by  the 
altar;  and  a  moment  after 
Arth's  exit,  Gloom  draws  his 
own  sword  and  starts  after,  mo- 
tioning the  others  on;  Caradoc 
follows;  MoNA,  catching  up  her 
spear  from  beside  the  tree,  fol- 
lows in  turn,  passing  to  turn  with 
a  triumphant  gesture  as  she  passes 
through  the  inner  wall, 
129 


MONA 


Chorus 
III 

God  Is  grown  hungry 

Watching  our  weakness  — 

Hungry,  beholding  us 

Frail  and  faint-hearted. 

Slay  we  a  sacrifice 

Therefore,  to  feed  Him  — 

Rouse  the  ravens, 

Waken  the  lean  wolves. 

Onward  for  Britain! 

(Broad  spears  for  Old  Britain — ) 

Ruin  to  Rome! 

\_The  flame  on  the  altar  dies  down. 
Only  Enya  remains  on  the  stage. 
She  runs  to  the  opening  in  the 
wall  up  stage  and  stands  a  mo- 
ment looking  after  the  others, 
while  the  torches  disappear  and 
the  sound  of  the  singing  grows 
fainter.  Presently  she  reels  down 
130 


MONA 


stage,  wringing  her  hands,  and 
throws  herself  full  length  upon 
her  face  before  the  altar,  not 
sobbing  but  lying  still. 

Chorus 

{outside,  more  and  more  faintly,  but  not 

slower) 

IV 

The  sword,  the  defender, 

She  is  holy  and  human, 
She  is  white  like  a  woman  — 
And  shapely  and  slender ; 
Demanding  a  master 
To  wield  her  and  bend  her  — 
Aflame  for  the  focman, 
Athirst  for  the  Roman  — 
(Heart's  blood  of  the  Roman — ) 

Red  life  and  disaster  — 
Revenge,  and  surrender ! 

[The  singing  dies  out  in  the  distance. 
There  remains  only  darkness  and 
131 


MONA 


stillness,  and  the  old  woman  ly- 
ing prone  before  the  altar.  The 
fire  on  the  altar  flickers  and  goes 
out,  and  Enya  stirs  a  little,  then 
lies  still.  Far  away  in  the  for- 
est, a  wolf  howls.  Then  a  mo- 
ment of  utter  silence.  And  then 
the  CURTAIN  falls  slowly. 


END  OF  ACT   SECOND 


132 


ACT  THE  THIRD 

The  edge  of  the  forest,  fronting  the  Roman 
Town. 

The  same  night;  just  before  dawn. 


ACT  III 

The  scene  represents  a  small  plateau  on 
the  southern  edge  of  the  forest,  front- 
ing the  Roman  Town,  On  the  stage 
left,  the  edge  of  the  forest  extends  di- 
<agonally  back  so  that  the  left  upper 
corner  of  the  scene  is  hidden  in  thick 
woods,  sloping  upward  to  the  left. 
The  edge  of  this  mass  of  trees,  irreg- 
ular and  diversified  with  hushes  and 
fallen  tree-trunks,  indicates  that  the 
open  space  is  a  natural  glade  and  not 
a  clearing.  To  the  rear  is  the  irreg- 
ularly concave  brow  of  a  declivity  at 
first  sharp  and  steep  {as  shown  by 
tree-tops  just  beyond  its  edge)  then 
gradually  sloping  away  across  a  shal- 
low valley  of  meadow-land  a  mile  or 
so  in  width;  and  beyond,  on  the  corre- 
135 


MONA 


sponding  rise  of  ground  across  this 
valley,  the  Roman  Town  appears:  its 
apparent  height  being  five  or  six  feet 
above  the  stage-level,  so  that  it  may 
easily  he  seen  from  all  parts  of  the 
house.  Beyond  and  on  both  sides, 
open  rolling  country  extends  to  the 
horizon.  On  the  stage  right,  a  high 
and  craggy  mass  of  rocks  extends  out 
on  to  the  stage,  in  the  shape,  roughly, 
of  the  corner  of  a  square  obliquely 
placed.  The  wooded  top  of  this  is 
only  a  few  feet  below  the  proscenium 
arch;  from  thence  the  rock  descends  in 
a  cliff  to  about  the  height  of  a  man, 
then  breaks  to  the  level  in  a  mass  of 
boulders  and  rubble.  The  cliff  is 
more  broken  toward  its  lower  end, 
more  precipitous  toward  its  upper;  so 
that  near  the  footlights  it  may  be 
scaled.  Above  this  cliff,  and  between 
it  and  the  edge  of  the  plateau,  a  broad 
136 


MONA 


pathway  runs  diagonally  of  to  the 
right,  sloping  down  the  hillside,  and 
evidently  the  way  to  the  plain  and  so 
across  to  the  Town,  Near  the  pla- 
teau*s  edge  and  about  on  a  line  with 
the  foot  of  the  cliffs  to  the  right,  lies 
a  large  fallen  tree;  and  on  the  edge 
of  the  forest  on  the  left  is  a  seamed 
and  broken  boulder,  lying  half  way 
up  stage.  The  ground  in  the  centre 
is  fairly  level  and  smooth,  grass-grown 
and  sloping  a  little  upward  at  the 
edges.  The  whole  effect  is  that  of  the 
mouth  of  a  shallow  gorge,  open  to 
the  southward  {upstage)  and  enclosed 
on  the  other  three  sides  between  rocky 
and  wooded  hills.  In  general  appear- 
ance it  is  by  far  the  most  spacious  of 
the  three  sets;  and  the  only  one  in 
which  the  eye  travels  back  into  the  ex- 
treme distance. 

At  the  beginning  of  the  act,  these 
137 


MONA 


details  ctre  invisible,  for  the  time  is 
about  half  after  three  in  the  morning 
of  the  same  night  as  Act  II;  the  moon 
has  set,  and  there  is  not  yet  any  sign 
of  daybreak;  the  stage  is  as  dark  as  is 
effectively  possible  —  just  light  enough 
for  the  main  outlines  of  the  scene  and 
actions  of  the  characters  to  appear. 
The  Roman  Town  is  visible  only  by 
the  tiny  lights  of  the  battle-fires  on  the 
walls  and  the  moving  sparks  of  torches 
all  about,  whose  reflection  glows  dull 
red  in  the  sky  above  it.  And  the  roar 
of  the  battle  is  heard  only  as  a  faint, 
'almost  inaudible  murmur. 

Day  breaks  very  gradually  during 
the  act;  and  the  end  takes  place  in  bril- 
liant sunlight,  the  brightest  lighting  of 
the  entire  play. 
As  the  CURTAIN  rises,  the  stage  is  empty 
and  dark.  It  is  at  once  apparent  that 
the  scene  is  the  mouth  of  a  hill-gorge 
138 


MONA 


ending  in  a  steep  slope  with  a  valley 
and  more  hills  opposite.  But  no  more 
is  to  be  seen  and  the  eye  is  led  from 
darkness  to  the  Roman  Town  in  the 
distance,  aglow  with  the  dim  light  of 
its  own  battle.  Presently  Nial  and 
Enya  come  through  the  trees  on  the 
left,  Nial  crosses  to  the  foot  of  the 
rocks;  Enya  goes  up  left  to  the  edge 
of  the  slope, 

Nial 
{as  he  enters) 
Here  we  can  see,  Mother. 

Enya 

The  town  still  holds  — 
I  had  hoped  that  red  sky  showed  it  all  In 

flames.  .  . 
And  still  no  sign  I 

\^She  turns  and  gazes  a  moment  up 
over  the  cliffs  to  the  right,  as  if 
for  a  signal, 
139 


MONA 


NiAL 
What  are  those  tiny  lights, 
Moving  like  fireflies  in  the  darkness  there? 
[Pointing  toward  the  Town, 

Enya 

Torches. 

How  still  the  forest  is  —  no  wind, 
Yet  the  trees    move  as  if  a  storm  were 
near  .  .  . 

[/«  the  pause f  the  noise  of  distant  bat- 
tle is  just  audible. 
And  listen!  .  .  a  dull  murmur,  like  the 
sea.  .  . 

\_She  moves  back  to  the  edge,  and 
stands  rigid  with  suspense. 
Fire  .  .  .  and  a  sound  of  battle. 

Surely  they 
Have  had  full  time  by  this  .  .    I 

How  fares  the  night? 
140 


MONA 


NiAL 

{seated,  unconcernedly,  at  the  foot  of  the 

rocks) 
Not  long  now.     In  an  hour  it  will  be  dawn. 

Enya 

{moving   about   the  stage   uncontrollably, 

with  wild  gestures) 
Many  there  be  shall  never  see  that  dawn  — 
God     send     our     own     be     not     among 

them  .  .  .  Yonder 
Beneath  that  red  glow,  swords  are  swung, 

and  shouts 
Go  up  with  groanings,  and  blood  smokes 

and  shines 
In  the  flare  of  the  battle-fires,  and  strong 

men  fall. 
And  the  press  wavers  — 

[The  black  bulk  of  a  raven  flaps  out 
of  the  forest  and  close  over  her 
head.     She    starts    and    cringes 
141 


MONA 


away,  terrified,  as  the  creature 
turns  and  flies  straight  toward 
the  Town,  growing  smaller 
against  the  sky. 

—  What  was  that? 

NiAL 

{quite  unmoved) 

A  raven.  .  . 
Yet  —  It  IS  strange : 

[He  rises,  puzzled,  and  moves  a  little 
up  stage,  looking  after  it. 

He  should  not  fly  so  soon, 
Before  the  sun  is  risen.  .  . 

Look!     He  flies 
Southward,  against  the  light.  .  .  How  red 

It  is  I  — 
As    If    all    the    battle    had    one    angry 
soul.  .  . 

\_Casually,  as  he  turns  away ;  a  little 
surprised  that  Enya  pays  no  at- 
tention. 

142 


MONA 


Mother,  the  Little  People  are  all  gone 
Under  the  hills.     Our  war  drove  them 

away; 
They  cannot  live  where  tfiere  is  hating. 
l^He  seats  himself  as  before.  In  the 
forest  behind  Enya  a  wolf 
howls,  answered  by  another  far 
away  across  the  plain.  She 
shrinks  nervously  toward  NiAL. 

Enya 

Hush!  — 
Listen  .  .  .  that  sound  there  In  the  for- 
est. .  . 

NiAL 

{unconcerned,  as  before) 

Wolves.  .  . 
{without  rising) 
Yet  —  It  Is  strange !     They  should  not  cry 

so  late. 
After  the  setting  of  the  moon. 
143 


MONA 


Enya 
(hysterically) 

And  still, 
No  tidings!     Can  the  dogs  hold  out  so 

long, 
Asleep,  surprised,  outnumbered.  .  . 

Will  the  fight 
Never  be  done.  .   ? 

How  many,  how  many  of  us 
Whose  hearts  are  struggling  yonder  watch 

and  yearn 
Through  the  void,   endless  hush,   feeling 

their  faith 
Bleed  away  drop  by  drop  and  hour  by 

hour! 
How  many  Roman  women  shall  befoul 
Their  proud  hair,  hating  every  sunny  day 
For  this  night's  sake  .  .  .  and  the  long 

nights  to  come.  .  , 
Surely  we  women  are  one  sisterhood  — 
Men  make  the  nations! 
144 


MONA 


NiAL 

Mother,  why  do  men, 
Seeking  to  live  more  gladly,  fight  and  die? 

Enya 

Men  die  to  slay  as  women  die  to  bear, 
Wasting  the  life  we  sorrowed  giving  them 
To  breed  more  sorrow.  .  .  So  they  build 

their  power, 
Binding  our  love  to  them  with  cords  of 
pain.  .  . 

{breaking  out  again) 
Oh,  I  have  waited  many  nights  like  this. 
While  flesh  I  bore  spilled  blood  that  came 

of  me, 
And  the  dawn  brought  the  dead  home! 
l^She  drops,  exhausted,  at  the  foot  of 
the  boulder,   to   the  left.     The 
first  suggestion  of  dawn  appears: 
not  light,  but  a  tinge  of  green  in 
the  blackness  of  the  shadows,  and 
145 


MONA 


a  slight  pallor  of  the  sky.  The 
red  light  fades  above  the  battle, 
and  at  intervals  the  voices  of 
birds  are  heard  in  the  silences. 

NiAL 

This  Is  more 
Than  I  can  understand.  .  .  Somehow   It 

seems 
I     should    be    wiser,     seeing    so    much 

pain.  .  . 
Is  Mona  then  a  woman? 

[Enya  does  not  heed,  NiAL  rises, 
crosses  to  her,  and  lays  a  hand  on 
her  shoulder,  peering  at  her  hid- 
den face  with  a  child^s  un tactful 
insistence. 

Mother,  say !  — 

l^She  does  not  move,  and  he  turns  away 

down  left,  groping  for  thought. 

She  never  gave  life;  she  hath  taken  It.  .  . 
146 


MONA 


—  And  Gwynn,  loving  us  all,  and  dream- 
ing peace, — 
Is  he  a  man,  the  same  as  other  men? 

IHe  notices  the  change  in  the  sky,  and 
tries  to  interest  her  in  that. 
Look  I     The  light  darkens. 

[Enya  starts  to  her  feet  and  crosses 
up  centre,  straining  her  eyes 
across  the  dusk. 

The  stars  fade.     The  dawn 
Is  coming.  .  . 

There  a  bird  wakes  —  listen  I 

Enya 

God!  — 
And  still  no  tidings !     Oh,  If  Gloom  would 
come  —  I 

[^There  is  a  crash  in  the  brushwood 
down  the  path.  A  moment  later, 
a  man  appears,  running  wildly  up 
the  slope  —  not  Gloom,  hut  a 
skin-clad  Briton  breathless,  dis' 
147 


MONA 


heveled,     and     bloody,      Enya 
rushes  across  to  him  and  catches 
at  his  arm. 
Oh,    what    news    of    the    battle?     What 
news  — 

[The  man  flings  himself  free  without 
a  word,  and  crosses  down  left,  at 
a  staggering  run.  Then  seeing 
NiAL,  he  turns  hack,  and  scram- 
bles up  the  rocks  out  of  sight, 

NiAL 

Fear ! 
His  terror  trails  behind  him  like  a  smoke  — 
He  IS  mad-afraid. 

Enya 

Woe  I     Woe  I 
[An  older  man,  wounded,  draws  him- 
self up  the  path.     She  stops  him. 
What  tidings  ?     How 
Went  the  battle? 

[She  clutches  at  his  arm. 
148 


MONA 


The  Old  Man 
(breathlessly) 
Nay,  I  know  not  —  Let  me  go  — 
We    were    betrayed  —  They    had    been 

warned  of  us  — 
The  fight  goes  on  still  —  Let  me  pass  — 

Enya 
{clinging  to  him) 

Tell  me, 
What  of  Gloom  ?     What  of  Arth  ? 

The  Old  Man 

I  know  not  —  dead, 
Most  like  —  they  were  among  the   fore- 
most— 

Enya 

Mona, 
The  Queen,  tell  me  of  her  —  ? 

The  Old  Man 

I  saw  her  last 
149 


MONA 


Mounting  a  ladder,  her  sword  shining,  her 
hair 

Blown  backward  in  the  torchlight  -— 

Let  me  go, 

Woman !  —  I  have  told  all  — 

[He  breaks  from  her,  and  stumbles 
away  into  the  forest,  up  left. 
All  through  the  ensuing  scene, 
scattered  fugitives,  men  mostly, 
now  and  then  a  woman,  scramble 
up  the  path,  and  hurry  across  and 
away  either  into  the  forest  or  up 
the  rocks  down  right.  In  the 
pauses  are  heard  the  voices  of 
awakening  birds.  Very  slowly 
the  sky  pales  to  a  dull  flat  gray, 
like  the  skin  of  a  corpse;  and  the 
darkness  fades  into  what  is  more 
a  sickly  weakening  of  night  than 
any  positive  daybreak.  It  is 
light  enough  to  distinguish  facial 
expression;  but  there  is  no  sign 
150 


MONA 


yet  of  sunrise,  and  the  distance  is 
still  blank  and  misty.  The 
greenish  tinge  of  the  light  makes 
faces  and  foliage  look  unnat- 
urally  colorless, 

NiAL 

He  does  not  know  — 
Mona  shall  save  Britain;  Gloom  said  sol 

was  it 
Not  all  foretold? 

Enya 

Lost.  .  !  lost.  .  I 
[Gloom  stumbles  in  among  the  fugi- 
tives, half  dragging,  half  carry- 
ing MoNA.  He  can  use  only 
his  left  arm,  for  his  right  is 
broken  near  the  shoulder,  and  he 
is  wounded  in  the  side.  As  he 
reaches  the  clear  space,  he  re- 
leases  Mona,  who  sinks  dizzily 
upon  the  fallen  tree  up  right,  her. 
151 


MONA 


head  droops  forward  almost  be- 
tween her  knees,  and  her  arms 
reach  limply  outward  and  down- 
ward,  the  left  against  her  left 
knee,  the  right  hand,  still  grasp- 
ing her  sword,  almost  touching 
the  ground:  so  that  the  lines  of 
her  arms  and  of  her  hair  falling 
straight  down  over  her  face,  sug- 
gest the  Sign  of  the  Name,     Her 
scabbard    is    gone,     her    byrny 
dented  and  broken,  and  her  white 
robe  stained  with  blood;  but  she 
is  unwounded.     Gloom  totters  a 
pace  or  two  down  stage  and  reels 
back  against  a  sapling,  his  right 
arm  hanging  useless  and  his  left 
hand  pressed  to  his  side,     Enya 
runs  to  him  and  clings  about  his 
neck. 

Enya 

Gloom  1 
152 


MONA 


Gloom 
{fiinging  her  savagely  away) 

OffI     .     .     .     My  arm! - 
Hast  thou  no  eyes,  woman? 

Enya 

{lamenting ,  not  protesting) 

My  son     .     .     .     my  son  I 

Gloom 
Broken.     Let  be.     It  is  all  over. 

Enya 

Arth  — 

Gloom 
Dead. 

Enya 

{softly) 

I  knew  It.  .  . 
153 


Thy  father?  — 


MONA 


Gloom 

They  were  awake, 

Under  arms,  waiting  for  us  —  their  garri- 
son 

Swelled  to  an  army,  sentries  on  the  plain. 

Fires  ready  on  the  walls  —  what  could  we 
do? 

One   traitor   is   more   strong   than   many 
swords  — 

Our  Gwynn  did  his  work  well  I 

Enya 

{trying,  with  grotesque  tenderness^  to  quiet 
htm  and  lead  him  away) 

Child,  thou  art  hurt  — 
Come  with  me  — let  thy  mother  bind  thy 

wounds  — 
Nay,  lean  on  me.  .  . 

Gloom 

{pushing  her  away,  hut  more  gently  than 

before) 

154 


MONA 


Let  be.     I  have  my  death 


Already  — 


Enya 

(hysterical  again) 
All  that  remained  to  me  —  my  son, 
My  husband  that  was  young  with  me  — 

Gloom 
{with  a  savage  gesture) 

Be  still! 
Thou  wilt  have  time  enough  for  wailing. 
[MoNA  raises  herself  wearily  to  a  sit- 
ting position^  pushing  back  her 
hair,  and  looking  dully  and  stead- 
ily   before    her.     Her    grief    is 
sharply  contrasted  with  Enya's 
hysterical  and  noisy  lamentation. 
It  is  the  quiet,  stony  pathos  of  a 
great  nature  crushed  beyond  the 
relief   of  complaint:  she  seems 
rather  to  wonder  than  to  regret. 
155 


MONA 


Her  manner  is  like  the  manner 
with  which  she  received  the  rev- 
elation of  her  mission  in  Act  I: 
a  stroke  of  something  too  sudden 
and  too  great  for  her  to  under- 
stand, 

MONA 

Gloom, 
Why  hast  thou  brought  me  here  ?     I  might 

have  died 
Yonder,  and  not  known. 


Gloom 

Any  place  will  serve 


To  die  in. 


MONA 

{rising,  and  coming  down  slowly  between 
Enya  and  Gloom) 
They  all  trusted  me  —  the  women 
Waiting  for  love,  and  the  sweet-eyed  young 
men, 

156 


MONA 


The  mothers,  and  the  merry  children  —  all 
Holding  by  me  to  make  them  happier  — 
And  I  ...  I  trusted  God. 

NiAL 

Nay,  but  He  wrote 
A  sign  upon  her,  that  she  should  not  love, 
And  therefore  Rome  should  die  and  we  be 

free  — 
And  It  was  all  promised  and  prophesied, 
And  thrice  beholden  In  strange  dreams.  .  . 

Is  Rome 
Stronger  than  God,  then? 

MONA 

Oh,  the  fault  was  mine  — 
Some  momentary  deed  unwisely  done, 
Or    left    undone!     I    slept,    and    Britain 

fell  — 
I  dreamed,  and  all  the  blood  of  those  glad 

boys 
Rushed  out  upon  the  ground  —  I  smiled, 
and  made 

157 


MONA 


The  Sign  of  the   Great  Name  a  mock- 
ery .  .  . 

Gloom 
(sourly) 

Bah! 
Let   us   be   honest!     What   has   God   to 

do?  — 
Success    IS    all    our    virtue!     Hear    the 

truth  — 
I  sicken  at  all  these  holy  melancholies  — 
Thou  hadst  a  vanity,  and  a  girPs  dream 
Of  huge  deeds  and  high  services;  for  me, 
I  had  a  lust  for  lordship,  hated  Rome, 
And  hated  more  that  sweet  boy-lover  of 

thine  — 
His    delicate    heats    and    spirit-perfumes; 

then, 
I  too  loved  thy  bright  body.     Good  I     We 

strove, 
As  others  do,  after  our  own  desire  — 
We  failed.     Well,  we  shall  die. 
158 


MONA 


MONA 

{forcing  herself  still  to  believe  in  him) 

This  Is  thy  pain 
Speaking.  .  .  It  is  not  like  thyself  — 

Enya 

Gloom,  Gloom, 
Thou  art  a  priest !  — 

Gloom 

I  was,     I  am  a  man 
Now.     Presently  I  shall  be  less.  .  . 

What,  shamed 
At  a  soul's  nakedness  ?     We  dress  ourselves 
In  decencies  of  reason  day  by  day. 
Till  our  own  hearts  hide  from  us,  and  we 

march 
On  proudly,  leading  God.     Oh,  we  believe 
Our  brave  words  while  we  speak  them! 

no  desire 
For  praise  in  Mona,  nor  In  me  for  her  — 
All  was  for  Britain ! 

159 


MONA 


\_He  sinks  back,  exhausted,  on  the  rocks 
to  the  right,  overcome  by  his  own 
hitter  violence  and  his  increasing 
weakness,  Enya  rushes  to  him 
and  raises  his  head,  MoNA, 
sickened  by  his  blasphemy  and 
groping  in  her  own  conscience, 
stands  motionless  down  centre, 
NiAL,  as  always  utterly  uncon- 
scious in  the  presence  of  emotion, 
crosses  up  left,  looking  up  into 
the  trees  and  out  across  the  val- 
ley. The  tops  of  the  distant 
hills  are  touched  with  the  first 
slant  of  sunlight,  and  the  sky 
tinges  with  rose  and  saffron  to- 
ward the  southeast.  On  the 
stage,  under  the  shade  of  the 
cliffs,  there  is  plenty  of  light  to 
see  by,  but  the  shadows  are  still 
purplish,  and  the  colors  vague 
and  dull;  there  is  no  green  in  the 
160 


MONA 


foliage    yet,    nor    blue    in    the 
sky, 

NiAL 

Mona,  see  —  the  dawn 
Is  coming  I     All  my  brothers  waken. 

[Gloom  groans  and  stirs,  MoNA 
turns  to  Enya,  a  new  horror  o/ 
self-distrust  in  her  eyes. 

Mona 

Mother, 
What  if  he  spoke  truth !     What  if  I  did  all 
For  myself,  not  for  Britain.  .  . 

Enya 

Child,  who  doubts  thee  ? 
He  knew  not  what  he  said. 

MONA 

He  is  a  Bard.  .  . 

I  see  now :  it  was  Gwynn  .  .  .  Gwynn.  .  . 

[  The  sword  clasped  across  her  breast. 

There  was  my  fall : 

i6i 


MONA 


I  knew  him  faithless  —  and  I  loved  him ; 

knew 
Him  Roman-born  —  and  saved  him ;  knew 

his  death 
Meant  life  to  Britain — -and  I  stayed  to 

hear 
My  own  blind  heart  crying  for  him.     God 

knows 
There  was  a  moment  when  I  gave  up  all  — . 
All  I  was  given  life  for,  my  whole  use, 
Britain,  and  many  hopes,   and  my  great 

dream  — 
Only  to  feel  the  glory  of  his  arms 
Around  me  In  the  night,  only  to  see 
His  eyes  between  me  and  the  stars,  only 
To  know  I  could  not  struggle  I 

NiAL 

Is  it  wrong 
To  love,  then? 


MONA 

{to  herself,  softly)] 

162 


MONA 


One  whose  face  I  could  not  see 

Who  strove  to  snatch  away  my  sword.  .  . 

[GWYNN  enters  hurriedly  down  left  in 

his  Roman  dress.     At  sight  of 

them  he  pauses  astonished, 

GWYNN 

Mona  I  —  The  fight  Is  done,  then. 

—  Art  thou  safe, 
Unharmed.  .   ? 

Gloom 
What  dost  thou  here,  traitor  ? 

GwYNN 

{too  much  concerned  with  what  is  to  he 
done  to  grow  excited  on  his  own  account: 
speaking  rapidly) 

My  guards 
Fled  with  the  rest.  .  .  I  am  no  traitor ;  all 
This  night's  blood,  If  ye  would  have  lis- 
tened to  me 

163 


MONA 


I  had  saved.     This  ye  know  now.     I  am 

still 
In  time  to  save  your  own. 

Gloom 

I  will  yet  spoil 
Thy  triumph !  —  Give  me  that  sword  — 
[He  staggers  forward,  trying  to  take 
the  sword  from  MoNA;  hut  his 
strength  fails  in  spite  of  fury, 
and  he  falls  hack,  half  fainting, 
Enya  and  NiAL  support  him. 
MoNA  turns  upon  Gwynn  in  a 
rage  of  scorn. 

MONA 

Roman,  begone 
Among  thy  kindred !  —  if  perchance,  even 

there 
Among  that  carrion  brood,  any  endure 
Thy  kinship  unashamed  I      Thou  save  us! 
—  who 

164 


MONA 


Would  owe  thee  life?     Look  on  thyself  I 

False  friend, 
False  Bard,  false  lover.     Thou  hast  done 

thy  work  — 
Leave  it  I     God  sickens  to  hear  thee  speak 

his  name, 
And  men  take  shame  of  thy  humanity  — 
Why  dost  thou  stand  there  breeding  new 

lies  ?     Go  — 
Leave  us  clean  air  to  die  in  1 

GWYNN 

{facing  her) 

Be  silent  now  .  .    I 
There  is  more  shame  to  thee  saying  these 

things 
Than  me  to  hear  them.     Look  at  me.  .  . 

Is  this 
Falsehood?     If  there  were  any  reason  in 

thy  rage, 
Could  I   endure  to  hear  it  —  and   from 
thee? 

165 


MONA 


Answer  me.  .  . 

[Their  eyes  pght;  hut  he  knows ,  and 
she  is  only  certain.  Hers  fall 
first.  GwYNN  goes  on  slowly 
and  emphatically. 

Hear  one  word  now  that  clears  all: 

The    Governor    of    Britain    is    my    own 

father  — 
I  am  his  son  —  dost  thou  hear? 

[None  of  them  believes.  MONA,  see- 
ing instantly  all  that  it  would 
mean,  sees  also  how  clever  a  lie 
it  might  he;  and  her  faith  in 
GwYNN  has  heen  hurt  to  deaths 
Enya  doubts  merely  because  it 
fits  in  with  everything  so  per- 
fectly —  a  weak  mind^s  instinc- 
tive suspicion  of  finality.  Gloom 
receives  it  with  a  sour  howl  of 
derision. 

i66 


MONA 


Gloom 

Only  the  son 
Of  the  Governor?     Only  the  son?     Tell 

the  whole  truth  1     Say 
The  Governor  himself  —  the  Emperor 
Come  from  Rome  —  hail,  Caesar  I 

Enya 

Nay,  It  may  be.  .  . 

MONA 

{wearily,  turning  away  from  him) 

Gwynn,    thou    hast    lied    already    many 

times  — 
There  is  no  need  of  other  words. 

Gwynn 

My  word 
Speaks  for  Rome.     Giving  it  for  peace,  I 

bind 
The  legions.     Binding  me,  ye  loosed  them. 

Come 
With  me  now  to  my  father,  make  an  end 
167 


MONA 


Of  this  rebellion  ere  yet  more  be  slain ; 
Give  peace  to  Britain,  and  bind  up  her 
wounds. 

MONA 

(monotonouslyy 
The  blood  of  all  our  slain  cries  out  on  thee, 
The  tears  of  all  our  women  fall  on  thee, 
The  groans  of  all  our  captives  answer  thee, 
Till  thy  life  answer  for  their  lives  undone  I 
\_She  stands  looking  blindly  into  space, 
the  sword  clasped  to  her  breast, 
hearing  nothing. 

GWYNN 

For  their  sake,   wait   no  longer!     Thou 

shalt  learn 
If  I  speak  truth  — 

NiAL 

I  cannot  understand 
All  this  of  truths  and  traitors ;  but  I  know 
That  Gwynn  is  good :     I  know  that  I 
i68 


MONA 


Enya 

It  may  be.  .  . 
It  may  be.  .  . 

Gloom 
Nay,  go  kiss  thy  lover,  girl! 
[MoNA  does  not  seem  to  hear;  and 
her  next  three  lines  are  spoken  as 
to  herself.  That  which  is  rising 
up  in  her  is  the  death  of  Gwynn  ; 
hut  the  others^  each  from  his  own 
point  of  view,  mistake  it  for  hes- 
itation, 

Gwynn 

Mona  .  .  .  come! 

MONA 

—  One  whose  face  I  could  not  see.  .  . 

Gwynn 
Many  shall  die  while  we  delay  —  Think 

not 
Of  me;  save  thine  own  people! 
169 


MONA 


MONA 

—  One  who  strove 
To  snatch  away  my  sword.  .  . 

NiAL 

There  is  a  mist 
About  thy  face^  Gwynn  — 

MONA 
—  Therefore  I  smote.  .  , 

Gwynn 

Nay,  then, 
I  dare  not  tarry  longer,  even  for  thee  — 
Guard  her,  Nial. 

\^He  turns  away  up  stage,  toward  the 
path.  MoNA  turns,  and  takes  a 
step  toward  him,  speaking  me- 
chanically,  in  a  dry  voice:  her 
tone  and  gesture  are  a  ghastly 
parody  of  surrender, 
170 


MONA 


MONA 
Gwynn  ...  I  am  very  weary.  .  . 

NiAL 

{springing  forward,  frightened  for  the  first 

time  in  his  life) 

Mona.  .  ! 
Great  God !  .  .  thy  shadow  I 

[Gwynn  turns  back  to  her  eagerly, 
and  takes  her  in  his  arms.  Her 
head  droops  forward  upon  his 
shoulder,  and  her  left  arm  slips 
around  his  neck;  her  right  hand, 
holding  the  sword,  hangs  at  her 
side.  The  pose  is  precisely  the 
same  as  when  Gwynn  was 
wounded  ominously  in  Act  I. 

Gwynn 

Love,  now  all  is  done 
And  we  may  yet  save  all ! 

{She  holds  him  close  an  instant,  then 
171 


MONA 


suddenly  brings  the  sword  up 
with  her  free  hand,  and  drives  it 
into  his  throat.  He  falls,  limp 
in  her  arms,  dying. 

Enya 

What  hast  thou  done  — 
O  Child,  what  hast  thou  done  —  I 

[The  body  of  GwYNN  slips  from 
Mona's  hold,  and  falls  at  her 
feet,  just  below  the  rock  on  the 
left.  She  stands  over  him  with 
the  sword. 

MONA 

I  have  proved  myself. 
There  lies  my  sacrifice. 

NiAL 

For  evermore, 
Thou  shalt  not  see  his  face.  .  . 


GWYNN 

Mona  ...  my  father. 
172 


MONA 


[//  slight  struggle,  and  he  is  dead. 
There  is  a  pause,  through  which 
are  heard  the  joyous  noises  of  the 
forest.  The  sunlight  floods  the 
valley,  gleaming  white  upon 
the  Roman  Town,  and  strikes 
through  the  tree-tops  from  right 
to  left.  The  stage  itself  is 
still  in  shadow,  from  the  cliffs. 
Gloom  gets  to  his  feet,  and 
totters  over  to  where  MoNA 
stands  motionless  above  the  body, 
gazing  into  space. 

Gloom 

Nay, 
Now  I  believe  all  I  .  .  Let  me  look  upon 

him.  .  . 
At  least,  he  cannot  triumph  over  me.  .    I 
I  can  die  now.  .  . 

Oh,  I  shall  follow  him 
Through  many  lives  until  I  find  him  —  yea, 
173 


MONA 


Standing  before  the  very  face  of  God  — 
And  smite  his  smiling  mouth ! 

[He  turns  back  to  his  place,  feebly. 

NiAL 

For  evermore 
He  cannot  answer. 

Enya 

Let  him  be ;  by  this 
He  has  paid  all. 

Gloom 

(turning  upon  her,  as  he  is  about  to  sink 
upon  the  rocks  to  the  right,  with  a  last 
outburst  of  logical  anger) 

Paid  ?  By  his  death  ?  Ay,  so  — > 
Then  for  what  evil  must  I  pay  with  mine  ? 
Which  of  us  wrought  this  ruin,  I  or  he  — - 
My  hate  or  his  love,  his  peace  or  my  war? 
How  should  we  two  deserve  alike,  whose 
hearts 

174- 


MONA 


Opposed  like  East  and  West?     The  shame 

of  one 
Honors  the  other  —  See  now  our  reward : 
Both  dead,  both  brought  to  shame,  both 

overthrown  — 
Behold,  O  God,  thy  justice ! 

\_He  raises  his  arms  above  his  head  in 
a  furious  gesture  that  travesties 
the  Sign  of  the  Name,  reels,  and 
falls  hack  fainting  upon  the 
rocks,  MoNA  neither  sees  nor 
hears.  As  Enya  is  bending  over 
Gloom,  Nial  comes  down  a  lit- 
tle, looking  curiously  at  a  point 
in  the  air  seven  or  eight  feet 
above  the  body  of  Gwynn. 

Nial 

Mother,  look  — 
Is   Gwynn   quite   dead?     He   is   not   far 
away.  .  . 

175 


MONA 


Enya 
{turns,  startled  and  glances  at  the  body, 
then  speaks  with  the  irritation  of  fright) 
Fool,  have  I  not  seen  death  enough  to 

know  —  ? 
He  IS  mere  earth,  I  tell  thee  — 

NiAL 

Look  —  his  shadow- 
Shines  in  the  air  above  him,  like  a  mist 
Over  the  moon.  .  .  See,  close  above  us  — 

there  — 
Bound  to  his  body  with  a  golden  chain. 
And  shimmering  like  the  wind  above   a 

fire  — 
He  seems  to  listen  and  to  wait.  . 

[The  others,  tense  with  horror,  are 
gazing  where  he  points,  hut  see- 
ing nothing.  There  is  a  short 
pause. 
The  body  of  Gwynn  lies  just  below 
the  rock  on  the  left,  MoNA  stand- 
176 


MONA 


ing  above  and  a  little  to  left  of  it. 
NiAL  is  up  centre,  Gloom  lying 
hack  against  the  rocks  on  the 
right,  and  Enya  below  and 
further  to  the  right.  In  the 
hush,  the  rhythm  of  the  Roman 
march,  heard  in  Act  II,  begins  to 
be  heard:  at  first  very  softly, 
then  gradually  louder  and  nearer. 

Gloom 

Listen.  .  . 

MONA 

A  murmur  of  many  voices,  like  a  storm 
Over  the  sea.  .  . 

Enya 

{crossing  up  centre,  and  looking  over  the 
cliff) 

The  legions ! 

177 


MONA 


MONA 

—  And  a  sound 
Of  men  marching  to  battle.  .  . 

l^She  moves  to  the  centre  of  the  stage, 
looking  up  left,  to  the  head  of 
the  path.  NiAL  goes  up  left. 
Gloom  lies  still  upon  the  rocks. 
The  Roman  music  grows  louder 
and  louder. 

Gloom 

Save  yourselves  — 
There  is  yet  time.     I  wait  here. 

Enya 

What  have  we 
To  save? 

Nial 
There  is  a  cloud  over  the  dawn.  .  . 

MONA 

Forest  and  cloud  and  murmuring  of  the 
sea.  .  . 

178 


MONA 


.Surely  my  dreams  remember.  .  . 

[^The  sunlight,  which  has  darkened 
while  she  spoke,  clears;  and  the 
light  striking  over  the  cliffs,  fills 
the  whole  stage  with  a  blaze  of 
direct  sunlight. 

Enya 

I  can  see  them 
Winding  up  the  long  pathway  from  the 

plain, 
A  multitude  of  spears. 

[A  Briton,  with  an  arrow  through 
him,  runs  up  the  path,  stumbles 
down  right,  and  falls  dead  at  the 
foot  of  the  rocks,  just  above  the 
curtain. 

Gloom 

Welcome,  wolves  I 
l^The  stage  fills  with  Roman  soldiers, 
entering  by  the  path  on  the  right. 
Most  of  them  are  legionaries  in 
179 


MONA 


their  panoply;  a  few  archers. 
Gloom  and  Nial  are  surrounded 
and  made  prisoners  at  once, 
Enya  retreats  down  ri^ht,  as  the 
soldiers  press  forward.  MoNA 
remains  left  centre.  Among  the 
last,  the  Governor  enters,  and 
steps  up  right,  Gwynn's  body, 
from  where  he  stands,  is  hidden 
by  the  boulder.  The  soldiers 
pay  no  attention  to  it;  a  corpse 
more  or  less  does  not  concern 
them, 

MONA 

{as  the  soldiers  march  in) 

Now, 
The  end  comes.  .  . 

The  Governor 
Guard  that  woman ! 
[MoNA    is    surrounded   by    soldiers. 
He  looks  from  her  to  the  others, 
1 80 


MONA 


Where  is  he 
Whom  ye  call  Gwynn? 

NiAL 

Yonder  —  above  himself.  .  . 

Gloom 
{relishingly)  ' 

There  is  a  Roman  spy  here.     He  is  dead. 

The  Governor 
Dead  I — 

[Coming  down  centre,  he  sees  the 
body.  The  soldiers  turn  the  face 
upward.     He  stands  looking. 

Gloom 
Past  rewarding! 

The  Governor 

It  is  he.  .  . 
{savagely) 

Who  hath  done 
This  thing  ? 


i8i 


MONA 


MONA 

It  was  I. 

The  Governor 

Thou  I     A  woman.  .  . 

MONA 

One 
That  might  have  been  a  woman. 

The  Governor 
{softly) 

Be  thou  sure 
Of  paying  for  this  blood.  .  . 

Gloom 

Since  he  has  paid, 
What  matter?     He  betrayed  us.     He  is 

dead. 
Thou  hast  thy  triumph.     Eat  it. 

The  Governor 
(^with  sudden  fierceness) 

Dogs,  ye  have  slain 
182 


MONA 


Your  own  last  hope  of  mercy  —  the  one 

soul 
Roman-born  that  had  care  for  you.     These 

years 
He  hath  made  your  peace  with  Rome,  won 

back  for  you 
Old  liberties,  given  you  the  strength  to 

dream 
Of  new  conspiracy!     But  for  his  faith, 
I  should  have  broken  you  between  my  hands 
In  the  beginning.     Day  by  day,  I  spared 
The  sword,  watching  your  fools'  rebellion 

boil 
Unpunished.     He  defended  you;  he  died 
Striving  to  save  your  miserable  lives 
From  your  own  folly  I     I  have  said. 

\_His  grief  breaking  through  his  anger. 

My  son.  .  . 
My  son.  .   I 

MONA 
{slowly,  in  a  dry  voice) 

Thy  son!  —    Who  art  thou ? 
183 


MONA 


[The  Governor,  still  gazing  at 
Gwynn's  face  and  fighting  for 
self-control,  pays  no  heed;  it  is 
the  soldiers  who  answer  in  a  fierce 
and  gathering  murmur. 

The  Soldiers 

Governor 
Of    Britain  —  Governor    and    lord     for 
Rome  I 

Enya 

O  Child,  what  hast  thou  done? 

The  Governor 

She  shall  have  time 
To  learn  — 

\^A  soldier  gives  him  the  sword,  which 
has  been  taken  from  MoNA. 
He  takes  it  mechanically ,  and 
stands  still  gazing  at  Gwynn's 
hody, 

184 


MONA 


MONA 

{to  herself) 
So  that  was  God's  voice,  after  all! 
That    weakness,    that    strange     fear    of 

Gwynn's  glad  eyes. 
That  warm  pain  In  my  blood  answering 

him, 
That  little,  foolish  whisper  in  my  heart 
All  night  long,  that  I  put  away  from  me, 
Smothering  It  with  huge  dreams  I     That 

was  all 
God  asked  of  me  —  only  to  drink  my  joy, 

Only  to  be  a  woman,  only  to  cease    — 

From  struggling,  rest  so,  and  be  drowsy- 
glad 
Like  a  child  comforted !     It  was  too  slight 
A  service  for  great  ends  —  too  small,  too 

sweet  — 
Any  one  could  have  done  so  much! 

[JVith  gradually   increasing  passion, 
turning  to  the  others. 

Ah,  Gloom  1 
185 


MONA 


And  thou,  Mother,  in  dream-lore  deeply 

wise  — 
Thou  who  hast  known  a  child's  lips  on  thy 

breast 
And  life  beginning  in  the  dark  .  .  .  and 

thou, 
Nial,  whose  blind  heart  makes  our  wisdom 

vain  — 
Could  ye  not  tell  me  how  great  dreams  pass 

by 
As  a  storm  blows  down  the  wind,  while 

beauty  grows 
Day  by  day  out  of  a  thousand  littlenesses, 
As  the  rain  swells  the  flood  and  fills  the  sea, 
Till  all  things  take  one  answer?  — 

[^Coming  out  of  her  inspiration  — 
more  quietly,  awakening  to  the 
realities  about  her, 

I  might  have  died 
Yonder,  and  not  known. 

—  See,  how  Earth  holds  up 
Her  freshness  to  the  summer,  and  the  light 
i86 


MONA 


Laughs  over  living  green,  and  the  birds  are 

glad, 
And  the  sweet  blossoms  brighten  In  the  sun. 
And  all  the  bitter  beauty  of  the  day 
Makes  merry  with  my  sorrow  —  And  I  go 
To  walk  alive  among  dead  hours,  and  see 
Pitiless  faces  and  the  mirth  of  men 
Whose  eyes  arc  evil,  and  be  fawned  upon 
By  strange  hands  ...  for  I  cannot  even 

keep 
My  faith  to  him  that  died  because  of  mc, 
Nor  in  a  clean  death  lay  my  body  down 
Beside  his  body.  .  .  I  must  bear  my  time, 
Having  done  no  good  thing,  remembering 

all  — 
And  there  will  be  so  many  other  days, 
So  many  other  days.  .  . 

[She  turns  from  Gwynn  to  The  Gov- 
ernor, quietly. 

Give  me  the  sword  — 
It  Is  mine.  .  . 

[Misunderstanding   her  purpose,    He 
187 


MONA 


steps  hack,  motioning  to  the  sol- 
^diers  to  restrain  her.  She  looks 
him  in  the  face  almost  with  a 
smile. 

Dost  thou  think  I  can  still  fear? 
I  loved  him  .  .  .  and  I  killed  him.  .  . 

Bear  with  me 
A  little. 

[^She  takes  the  sword,  and  kneels  down 
by    Gwynn's    body,    laying    it 
across  his  breast. 
Take  the  sword  now.     It  is  thine. 
Thou  hast  done  well  for  Britain. 

For  myself, 
I  have  done  only  what  I  must  have  done, 
Being  myself,  holding  by  mine  own  sight 
And  mine  own  blindness.     I  have  sought 

beyond 
Love,  and  above  beauty,  turning  away 
From  God,  to  point  what  way  the  world 

should  go. 
Scorning  my  life  because  I  found  it  fair, 
i88 


MONA 


Following  the  white  fire  of  endeavor  down 
Under  the  last  horizon,  where  stars  fail 
And  the  sea  takes  me,  and  the  night  ends 

all. 
And  the  brave  deeds  I  was  too  brave  to  do 
Slumber,  forgotten.  .  . 

[She  lays  her  hands  upon  Gwynn's, 
bending  over  him. 

Love,  I  could  not  be 
A  woman,  loved  and  loving,  nor  endure 
Motherhood  and  the  wise  ordinary  joys 
Of  day  by  day.  .  .  All  that  I  had  to  give 
I  gave  thee.  .  .  I  have  known  thy  heart 

.  .  .  Farewell. 

[She  bends  down  and  kisses  him  on 
the  forehead. 
Forgive.  .  . 

[She  rises,  and  stands  among  the  sol- 
diers. 
Do  your  will  now. 
[  They  hind  her  hands. 
189 


MONA 


I  have  had  dreams  — 
Only  great  dreams.  .  . 

A  woman  would  have  won. 


190 


30m-6,'14: 


i^fj"^ 


IB  3i7C3 


2231 31 


